I have 20 grandchildren, each of them thinking Grandpa, is that me on the vase?

Yes!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Let's go for it!

Oh my gosh this is going to be exciting.

I'm showing you next week's finished product before we go to stage 1 today.

This is the finished one.

And here is the priming with the tracing on it.

And as I've said before, if you put on the outline with some acrylic then it's going to be possible to see and it'll give you guidance as you go on through it.

Over to the left we have stage 1 which we will finish today.

We'll arrive at stage 1, then we'll see what happens next week.

I'll start with the fan brush, some Walnut Oil.

Oo, you came out with your own agenda.

You had just a little blue on there.

Now, I don't want very much on, so this wiping will make it just enough slip for me to do.

But that's not real slippery, but it is a help.

Okay I'm going to start with putting some paint on.

What are you?

You are a brush, a leaf brush.

What does it say?

It's a small flat brush, that's great.

And this is my flesh color.

1 Yellow Ochre, 1 Burnt Sienna, 1/2 part Alizarin and 1 White.

Umm.

This is just right.

We have a cute little dolly.

Be sure when you wipe, you wipe good so there's not too much slip on this.

I'll come right up to the forehead, to the hairline.

And as I go over to the left, I'm coming down and I'm wanting to make sure that that cheek doesn't have an outline on it.

Now that, whether I get it now or come with the Umber against it, it will work out.

Under the nose, a little bit through there.

And I'm saving just a little bit of the dark.

I'll wipe just a little there so it shows more.

It didn't show more.

Better use a paper towel with the corner of the brush.

That's better.

Okay, then down at chin.

The thing that I need to remember here, and on the ear is that the chin-- see, the way that I have it now, it looks like it's in front of the shoulder so when I put the shoulder in, I need to be sure and do that so the chin is behind the shoulder.

I'll come down just a little lower for a smaller chin, I mean larger chin.

Us Paulson's, we have big chins.

It used to bother me, I thought my chin is too big until my teacher Claude Buck said, with a chin like that you are not afraid of anything!

I thought, that's right.

So I started feeling good about it.

Okay now, we come down here.

What I look at as I do this, I want to make sure that that arm isn't too wide.

It's just a little wide, so I'll come from below and narrow it like that.

Oo, that's beautiful.

Thank you Buck.

Your own fan club.

And down in there.

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

Maybe just put a little more light a little lower to narrow the cheek, the line of the cheek.

Oh, that's great, that works just right Okay, now what I'm going to do is put a little bit of the hair color in.

1 Burnt Umber, 1 Burnt Sienna, and 1/2 part White.

I'm just scrubbing this in, not anything fancy.

What makes this look so good when we go to the finished one is the little flowers that are in the hair.

Like that, and then I'll also take just a little bit of this, put down for a little shading under the arm there.

I notice on the flesh that I put on his arm, or this side of the shoulder needs to go over further.

It'll give a more correct shoulder.

Right.

That's what I want.

Okay, now what will be very helpful-- did I tell you what the color of this is?

If I didn't, it's purple and white, the background.

I really like it.

So now I'm going to take some Burnt Umber straight, use a little bit of medium.

This is the same brush, and I'll first come right close to the body because that's what I'm focusing on, then we'll fill in the rest of the vase.

You know what's neat, I receive so many emails from viewers, and often it's from somebody who will say, well, I don't paint, but I sure enjoy watching you paint.

So I guess what I'm saying is plus them, if there's any of you out there that would say I wish you'd do this subject, send it to me quickly or to the Prairie Public television so we can get that on the docket.

If I were at home, I would probably turn this upside-down being right-handed, but if I'm very careful it will be all right.

And I am careful, and it's all right.

When I talk about being careful I'm referring to coming near the face.

As we go out here, we're fine.

This comes down to there.

Oh, this is such a joy to do.

You always wonder when you're choosing subjects for the audience you think, well, this will give a little variety.

While this one work?

Can I do this?

Absolutely-- you can do everything.

More Burnt Umber Across there, and up over in here.

I think on the finished one, some of the flowers may come down just a little bit, so we'll sort of lose the top edge, and that's on purpose.

We want to focus on that little angel.

My grandkids say are boys angels too?

They sure can be, All right now-- oops, I cut in just a little fast there-- blend it.

What I just did, and I kind of like, when I cut in a little fast, I softened it slightly.

It sure wouldn't hurt just to soften that slightly as it meets the background.

So I did it on purpose there.

And I want to make sure-- this is with the Umber, just a little darker in there.

Okay now, let's take just a small brush.

Do you have one?

Here's one.

You will work.

And I'm taking just a little bit of the Burnt Sienna, and we're going to go just slightly in the eyes, a little bit on the eyebrow.

And it's eyebrows, like that.

And I'll emphasize this arm being in front of the chin by making just a little bit of an outline there.

I'll push the flesh over to that a little bit.

But that will give me a definite feeling of the chin going behind the arm.

Okay, now let's take, so we've filled that in.

Let's put just a little bit of a highlight on.

And this is right close here.

First I'll wipe, and then let's take, well, I'll take some of the flesh color and cut it in half with a little White.

We want to blend that quite a bit so that it will soften and look like a highlight on a vase.

And that same thing would go up just a little bit on the rim.

There is often one right in here too.

Okay, so let's go then to the background a little bit.

I have a larger brush, this is a petal brush.

I'm going to take, I have some Purple-- this is 4 Purple, 1 White.

I'll use a little medium on it, and I want to scrub this around.

[soft scraping] I can touch a little bit against the Umber there.

I love this color.

And this comes down around in here.

I'll wipe just a little bit of this because I don't want this to be too strong.

And when I say too strong, I think you know what I mean.

But it's another way of saying not too dark, too solid.

So this is what I'm doing just a little bit.

Yes, that works.

And that's why it's helpful to have put the Walnut Oil on and thinned it out a little bit.

It just makes it flow a little more freely.

Did you realize that Buck can paint left-handed?

Geez, that's good.

I didn't know you could.

I was once in high school, and it was April Fools' Day, and we were on the farm ready to go get some hay or something, and we had to get the tractor started.

Well, I couldn't get that thing started, it was kind of flooded.

So what did I do?

Thump, thump boom!

And my wrist was at a right angle, so I broke my wrist and April Fools' Day-- my father thought we were kidding when we called him to come back home.

Anyway, for 6 weeks I was left-handed.

My teacher said we like your writing better left-handed than we did the other way.

It was kind of frustrating not being able to pitch right away.

But it didn't take long.

[soft scraping] I'm going to take a, let's see, do I have, yes, a mop brush.

I want to just touch this highlight just a little bit more.

Good, that makes it just a little softer.

All right now, let's take some Viridian Green, and I have a fan brush.

Let's see, the Viridian Green, I have, let's see, 2 Viridian Green, 1 White.

And notice what I'm doing now.

I'm wiping off a little bit, and I just feather this around.

I want it to sort of reach in to the purple, so the purple isn't all alone.

[soft scraping] Good.

That's a'workin', that's a'workin'.

Take some more, and you notice when I do this, I have the corner of the fan brush, and I kind of flatten it out, and that makes it so I can do pretty good scrubbing.

Oops, I need more paint.

Gee, I love that relationship of the purple and green.

This is a Viridian Green.

And I can have even some of this just sneaking a little bit over in here, up there.

You got a little strong.

Let me take a little purple with you and put you there.

Somebody will say, I don't see that on the original.

That's not the original, that's the halfway stage.

Oh, we got some down here too.

Again, I picked up some of the green and some of the purple so I get kind of a mixture-- it's about half, one of each.

[soft scraping] Okay, now I have some golden tone there.

What's the golden tone?

Well, I almost like that flesh color, so let's take some of that flesh color and just splash it in a little bit.

I need to have a small amount so that it really blends in.

[soft scraping] That color is very compatible with the green and with the purple.

What it does a lot of, and the reason I like it is, it softens so you are not just going up to the edge and stopping, you're actually blending a little bit to it.

Now let's take some, let's see, this is Burnt Umber.

I'm going to take a little bit of the Burnt Umber and the hair color.

So in other words, it's just lightening a little bit.

Let's put this down so you feel there's a change in direction on the table.

You have a front edge, and then you have the top.

Okay, I'm going to just soften a little bit.

What I'm doing is touching the background and the edge of the vase a little bit so the vase is not sharp.

All right, let's put some color in for our flowers.

I noticed on these two, that they are just-- I'll take some of that same mixture that I just had down here.

Well, let's go Burnt Umber.

I'm sorry I confused you.

A little Burnt Umber, not much.

You kind of establish a little bit of a center on that.

That will help us when we put color on the flowers.

The ones down below, let's see, I have Cadmium Red Light.

I'm going to use that straight on 1, 2, 3, 4, maybe 5.

And then, okay, oh, I know what I'm going to do.

This is a little bit of the red light.

Oo, are you powerful.

You say well, you are brighter.

Great!

Okay, so I'll take White and the Red.

So it's 1 to 1, and make some of these that aren't quite the same.

Now when I do this, it's not saying oh, those were wrong, it's just that these are a little different.

And eventually on the original, as you will see, we'll have a little bit of these flowers.

Oh, I can't wait!

There's going to be some flowers up there.

I can wait, I need to wait.

I just got a prompting from my boss-- Buck, stick with the plan.

Oo, I like that one.

And these, I'm touching just slightly against the background.

I'll undercut that one because-- and this is taking some of the purple.

This is the one I need to undercut just a little bit.

Maybe a little bit over in there too.

Don't mumble Buck; we can't hear you if you mumble.

Okay.

Now the ones-- well, I still have some more red ones to do, so I'll clean the brush, and when I dip into the Red, this is where I have a little of the White with the Red.

It's about 1 to 1, So we have a good one here.

I'm going to put just a little more red in that one.

I don't understand you.

How did you get so large?

Let's take a little purple and cut in just a little bit on it.

I like that relationship of the purple and that red.

Boy, wouldn't that make a sunset?

Next demonstration I do for the public, it's going to be purple and red-- unless I change my mind!

Okay now, let's come down to the next one which is still the Red and the White.

Just a little separation of them.

Then finally, we have these two large ones.

They're going to be so nice when we put the highlights on them, but right now we put a secondary color in.

I need to make sure what I'm going to use there.

I'm going to pick up some Orange, and if I mix a little Umber with it, that ought to give me just a little bit of the toning down the Orange slightly.

See, you can see there, this is the pure Orange, and this is with a little Umber in it.

So we are using the one that has a little Umber in it.

Notice I make use of the outline, but I don't want to completely save it.

So as I point to the original, those outlines are pretty good there.

We'll put some darks around eventually, and that will make sure that they have a nice edge of their own.

Gee, this almost looks like a face.

Doesn't it?

There is the eye, the nose-- I must've painted grandpa on this picture.

We just had a big anniversary party for my beautiful wife and myself, and we had all these grandkids and great grandkids.

Oh my gosh, what a privilege.

[soft scraping] And one of the things that my kids said is, we never saw mom and dad mad at each other.

Isn't that great?

I mean great that we could hide it!

[laughs] We do love each other, and we don't fight.

Okay, I'm taking some of the pure orange and just marking a little bit in there, a little bit around here.

When I do this I get a little variety of color, but I also am testing the waters of the outer edge of each of these.

Let's take a little of the pink again, and we'll go up-- where are you?

Oh, you're up there.

Let's take this one and go up just a little bit higher, like that.

I kind of like where I'm taking a little Umber and just touching on these so they're not quite as bright.

I really like the brightness but we have to be always cognizant of the fact-- where is our center of interest?

We don't want to take away from that.

I'm going to do one other thing before we leave, and that is to take a little Yellow and White, and go just a little brighter on this.

Perfect!

We'll look forward to seeing you next time.

Thank you for watching.

See you next time.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...