Do you know who can be the greatest influence in your life?

Look in the mirror.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Painting children is such a great opportunity.

It's kinda looking into the future and having great hope because they're such good, wonderful people.

And these are not only my grandchildren, but yours as well.

This little girl, I just love her, Little El.

And we have a nice start on her.

We've put a couple times on this where we've worked on her self and the background and the dress.

Now we need to do a little bit refinement.

And the way I'm going to start this is, I want to put a little glaze on the face which allows me to work into some wetness.

So down at the palette we have some Azo Orange and Umber.

Let's see what that looks like.

There's the Azo Orange, the Umber is creeping in from the side.

Let's just have a little bit of Naphthol Red.

Oh, that's exactly what I want.

Now when I put this on, it's going to be thinly placed on so that we can still make use of what's underneath it.

I have a fan brush, I dipped into the Walnut Oil, and I'm going to come up here.

The face is all dry.

It had a chance to dry over the week.

This is our third week on "Little El."

You can see the difference right now between what's been covered and what hasn't been.

And the what hasn't been is going to receive it next.

There you are, stand in line.

And this down here I think is all right.

We'll see.

Okay, the next step is wiping a little bit where the light will work into.

This, it makes it a little bit richer if you wipe slightly where the highlights are.

On some paintings I'll just work directly into the glaze.

Glaze is very thinly done in this case.

You can have thicker glazes; this one is thinly done.

Oo, I like that on the nose.

And you can see the coming off of the glaze as we wipe for it.

Um, I feel like a doctor doing surgery.

With El I'd say you're all right, you don't need anything else done.

Open wide, let's look at those teeth.

Oh ho-ho, they're good, huh Barb.

Okay, here we go.

Now let's come with some light, and in doing this, I have the Orange.

Let's do it, Azo Orange, and I have a little bit of that Unbleached White.

I wonder what that would look like?

I think what it would look like is a nice step up.

Oo, that looks great!

Okay, I have a badger filbert, or do you say filbert first?

I don't know, I really don't care.

Okay, we'll start at the forehead.

I put some on, then I'm kind of wiping the brush so that I have less paint.

I'm just working with what's there.

I like that contrast with the edge of the hair.

And there's just a little bit here.

There's always a question.

Do you do the eyes first or last?

And the answer is yes, because if you do them first, then everything else kind of works up to them.

If you do them last-- dessert!

So they're both right; it's up to you.

In this case, it's up to me.

A little bit of light coming down there... and down towards the end of the nose.

It's so helpful when I do this to put on the glaze so that you have a very easy chance of blending the edges, because there's something wet.

Picking up some more of this paint.

Now on this side, notice I will start down about here so it keeps that eye a little bit more in the mystery.

Keeps the eye in the mystery?

That's interesting, Buck; a little more mysterious.

I'll put just a touch above the eye, then back down here where we'll blend it out.

It's very helpful to still see a little bit of the line on the edge of the nose; that's from the drawing.

Okay stronger, meaning more down in here.

Then there's just a little bit, let's take a small round brush.

And right in here, there must be a name for that.

Keep it full.

Oo, just right.

A little stronger right in there.

Oh, I like you El, I hope you like you too.

And I have a shirt underneath, it's a T-shirt that says "The World's Best Grandpa," and it's got fingerprints.

It shows Jenni, Jace, Chad.

Did I say Jenni?

It says Brenna, not Jenni.

Jenni's the other one.

But anyway, I've saved the shirt all these years, and come to think about it, when my daughter sent me some shirts to wear on this series, the shirts that came were from the left-hand print from Chad!

Gosh, he grew up, and I have hand-me-downs!

They're beautiful, as is he.

Just a little stronger there.

Now, you're always conscious of form.

So the light doesn't come down to the bottom, it kind of blends in a little bit there.

And I see on the side of the mouth that I need to just make it a little bit better.

That way you get rid of hardness, and working into the glaze certainly gives that aspect of it.

Okay, on this side I'm choosing to go up by the eye.

When I say that, I choose to go up by the eye, which we didn't on the other side.

This will really emphasize the eye, then we come down next to the nose.

I'm placing this on, and often what I would do, I would do this on each area.

Just place it, then after it sets for a while, then you come back and blend it.

I'm going to come down just a little bit on that side of the lip.

Um, beautiful.

Okay, now I'll blend.

And I'm wiping the brush.

Wipe the brush, this is my filbert.

I love these Alexander brushes-- they respond-- Alexander Art Company.

I was the first six years on their television, which was so great.

Laurie Anderson, my dear friend, is the presidente.

Okay, so I came up just a little there, now let's blend this.

What I like in doing this, you have the light there, then you're coming down and blending along here, and it leaves that side of the nose-- what do you call that?

I know a lobe on the ear.

What's that little thing on the nose?

I don't know.

I would expect the floor director to hold up something that says, Buck, it's this.

Not necessary.

Um, these can almost touch.

It's a nice blend, a nice blend.

Then after I've done that, well, let's just blend a little more here, a little bit more there.

We'll take a mop brush.

Oh, that's so much fun to do, I really like that.

All right, I'm going to now come back with the same thing, but I won't, ah, I won't what?

Well, when I put it on it'll be just a little more quantity, and it should look just a little bit lighter.

It doesn't need much.

Here, I'll put it there.

I hope you can see the difference.

I can; you can.

Then stronger here.

That gives such vitality to it.

Let's try it on the chin.

If you're related, you might have the Paulson chin too.

A little stronger in here.

Then the other place is where we put it on the nose... right stronger in there... and down here.

Ah, I like that.

Okay, let's take a little bit of Red, Naphthol Red and White.

I'm using about, it looks like 2 Red, 1 White, just the smallest amount of light on the lips.

Oo, it's perfect.

Perfect, perfect!

What else can you say.

Not much.

There's just a small little U-shape with the lightest light that goes right here to keep it full.

Oh, that's good.

Okay, now I want to take-- gee, you made the trip, Cobalt Teal.

What do you say we use you?

Clean the brush.

Use you in your purity.

Blue and White, oh, can we use that?

Why not?

Equal parts.

We'll put this right in here, just a little.

Oh, she's going to have vitality.

And a little bit on this side.

And then I have just a little bit, this is White, and you are the Azo Orange, but it's just almost white.

I guess about equal parts.

And I want to put this right up at 2:00.

If her little eyeball, if that's a clock, that's where it is.

And just a little bit in this one.

This looks like more 3:00.

Oo, that's too much.

I'm going to take Umber, Burnt Umber, and just touch that down so it's not quite as important.

Oo, I like what happened there.

That works!

That works again!

Okay, what happened here?

Did somebody touch that?

You better go to the doctor, Little El.

All right, let's take and put just a little bit of our orangy color.

This is the first glaze color that I used, and I have a round brush.

I'm putting a little bit in the ear.

So we use it as a glaze color, but we also use it as one of the colors for the project.

I had another saying.

"Grandchildren give us another chance to make right choices."

I like that, that's why it's so fun to be a grandparent.

You can overlook small things and say, you're all right, do it better next time.

That's good, I have one feeling of wanting to come in with the background a little bit on the left side.

Let me see what we do.

Oh, you made the trip, Teal, Cobalt Teal.

Gee, let's put a little bit of Umber with you.

So that's equal parts of Umber and the Blue.

And we'll come out here.

The reason I want to come out here is to just kind of make that eye a little more correct.

That's better, then the eye sits where it should.

And here I'm coming along the cheek.

Just a slight-- look at that, this is what I'm calling slight-- this, then it narrows or it sways, then back out.

So that's what I mean by slight.

I'll take the same color.

I'm going to put a little more Umber in that, so this will be 2 Umber and 1 Phthalo Blue.

I want to come down here so she has a little bit more of a Paulson chin.

Good.

What about anyplace else?

There's the same Umber and Teal.

Blue, you're taking over a little bit.

I want to put this out in the background.

What that does, it more firms the head, and you don't feel it's floating off into the distance.

So doing those background things are helpful, but you certainly need to be aware of certain aspects.

Let's come down here.

Oo, I like what that does next to the shoulder.

Now, while I'm over here, I'm aware of something else, so I'm going to just take my finger and blend that a little bit.

I'm aware that I want to make the edge of her hair just a little stronger.

So we'll take our Cadmium Yellow.

Don't you have a middle name-- Cadmium Zuki Zuki Yellow?

Just regular Yellow and White, equal parts.

And here's where I'm coming, just to emphasize that more.

That has a kind of a balance.

Then down here it just touches against the shoulder.

This one needs to feel like it's disconnected just a little bit.

I don't see it, but I'm going to put a little bit of this in here.

Oh yes, yes indeed!

That's dark.

One other aspect that I notice on this too is, you take her shirt.

That's not a shirt, that's a dress.

Oh, Okay.

You take a shirt.

[chuckles] This is White, and boy that Teal Blue, Cobalt Teal, you have just taken over; I want some of you.

Down here I need to have a little more strength.

Good, and let's make use of that in another place or two, right near here.

See, little things mean a lot.

They're so important.

When you do the little things, do them well, and you'll always equate them or evaluate what you've done.

In this case, I'm looking at the model and doing it, but in my home studio I would hold up the mirror, and it reverses the image.

It's almost like somebody else looking at it, and I like that.

I'm going to be doing a critiquing service; it's going to inaugurate soon.

By the time you get this, it will have already inaugurated.

Look at that.

Isn't that pretty?

No, I don't really have any across there.

So that'll be fine.

Okay, let's put just a couple little sparkles into the hair.

And I'm looking at right in here, there's just a little light there.

Okay, come on Mr. Cobalt Teal, see what you have.

That's my same mixture, it's 1 White and 1 Blue.

And we'll put just a little-- oh, it isn't that she has gray hair.

She has unity between what's there and what her dress and everything looks like.

I'm going to take some red and do the same thing.

This is my-- what kind of Red are you?

Quinacridone Red.

Oh, Anthraquinone Red.

Anthraquinone-- these are some tricky names.

This gives it a little more unity with the background where you have a lot of these reds.

We put these on, we can even sneak a little bit here and there.

I notice that when I look over there.

I really like what that does; it sort of enhances the glow.

And a little bit over in here.

And I think what would help is if we, let's see, should we take a knife?

And I want to take, you're Burnt Umber, of course, and some White.

That's 2 Umber, 1 White.

And I need to take, let's see-- what kind of green are you?

I want to make sure I've got, oh yeah, you're right, Emerald Green.

Mm, you're powerful.

It just gives some variety to the big areas.

And you're always thinking what does this do towards what I've put on her?

I'm just softening a couple of these grays on the face, like that.

And let's put a little bit, a splash up in the background.

So this has a little White with that Umber and Green.

This one is helpful because it gives a balance to everything that's happening out front.

♪ Do-do-do.

♪ And down here, okay now, just a big bunny brush.

just a little bit of sweeping around, on the background first.

I should've done that with a second brush.

Oh, I haven't used the other side, so I can use the other side, it's still clean.

Just touch her a little bit.

Oh, you're beautiful, you're beautiful, El.

You will be told that many times by more that just Grandpa.

Let's take and just, let's see what we should do.

I think we're about enough.

We might have just a little dark, I'll take a little Umber, so small amount... and just show where the bottom of the ear is.

Yeah, that way it works well, and we'll put in the nostrils just a little bit.

Good.

it's been great!

See you next week!

Ellie, Chad, Brenna, Jace, and all of you.

Thanks for watching.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... To order the complete 13-episode series 20 of "Painting with Paulson" on DVD including Bonus Features and Line Drawings, please visit or call...