You've heard it said "if you can't stand the heat, get out of the kitchen!"

I add to that if you can't stand the cold, stay in the kitchen!

[piano plays; bright in tone] ♪ ♪ ♪ ♪ Would it be appropriate to say, "welcome, welcome, welcome?"

Because this is part 3 of "The Bison."

I'll tell you the opportunity to make a quality painting in your presence has been requested by you, and has been my desire.

Oh, it's so neat to see that.

Most of the shows, we kinda get pretty close, and we're hoping that the front piece of the show will give you an idea of what it looks like when it's finished.

But here you get to see it finished right before your eyes.

I'm going go and show you at the canvas what we've done so far in preparation for today.

This has been done previously with Ultramarine Blue and white acrylics.

Then last time we started putting color on.

And you can still see some of the blue coming through can't you?

Now, over to my right I have the finished painting of "The Bison," and we're going to work towards that today.

If we can make it better, we'll make it better.

I've already placed some walnut oil on the canvas, just so it has a little slick to it so when I put paint on it, it'll slide easily.

The way I'm going to start this is, I have some of the previous tree color which is Payne's Gray, Quinacridone Rose, and white, and then I add a little Cobalt Blue in it.

We already have that mix.

Now before we had some color from the snow.

We have Cobalt Blue and white with a little bit of Viridian Green.

I brought this down here because I want to darken it just a little bit with the previous tree color.

So we got sky and tree color mixed up, and I'm going to spread this around several places.

I'll dip in just a little bit of walnut oil.

It's strictly a security blanket.

I probably didn't need to do that.

I'll come over into this area which is a little bit of the sky.

My purpose in putting this on is kind of 2-fold-- to make it a little bit wet, to let some of the under color show through and also to have something wet to blend into when I want to go lighter.

I'll use some of this as I come over into the tree area, and that doesn't change that much.

Where you're going to see the most change is right down next to the back of the bison.

I put that in solid.

I'll wipe with a little bit so you don't have just a thin line there.

We'll come around the bison.

I'm going to change brushes.

I have a little flat-- you're not flat.

You're a filbert, soft filbert.

See how I can come carefully around that horn, then strongly down near the eye.

Oops, you need to have just a little cleansing before you come up and be on my stage!

I love the aspect of putting things on, and if it's wrong, correct it.

If it enhances it, you think, oh, that's great-- serendipity!

That, as we featured before, the contrast of that side of the face, that side of the head is so neat.

Now, let's go back with just a little bit of wiping up above so we no longer have the strong edge where it stops.

So here I'll push up, just a little bit, kind of uneven like.

And I can wipe even just a little harder right where it touches the back.

Ooo, your hair is standing up.

I feel like I offended you.

I apologize for that.

Let's go with some more of that lighter color that we're putting around for snow.

We put some in the sky.

Let's come down in-between the 2, the 2 neighbors.

How can you tell one from another?

Of course, they come to me and say you artists all look alike.

That's great!

I look like da Vinci.

Now let's take some of this and go underneath the tummy just a little bit.

This is all preparation.

And by having this wet, there and up above, you can also address the edges of the buffalo, or the bison, or buffalo, so you push it up.

It'll soften a little bit into that.

A little bit more down on the front piece.

This will make it so that if we want to put anything else in there, we have something wet to blend into.

Just smooth it around a little bit.

You want the kind of flying snow feeling a little bit.

I'll go right to there slightly so that we don't have quite so much sharpness against the tail.

Soften a little bit those lines, soften back there.

I'm going to stay back there just a second.

So we'll come down with some Turquoise Blue, Turquoise Blue and a little white.

Hmm, you need to take a break.

You've got a suntan.

I don't want a suntan, I just want the blue and white!

Not quite dark enough, just a little more blue.

See, this will be distant trees and then you feel like they've come a long way, and you can just spot them back in the distance.

Okay, let's come over on the big bison, the head.

What we had last week was the Payne's Gray and Quinacridone Rose and then just a little red in it.

I want to have this little red as we go up just on the edges right in here.

See how it touches up?

It softens, and it helps the horn appear just a little sharper, but this is softer and I'll come down inside just a little bit.

I don't want to lighten too much, but I do want some character, the character of that head.

It's "massive."

That's the best way to say it.

I almost feel like I'm tickling his nose a little bit.

They like to be scratched a little bit there.

Let's take just a little of the dark-- this is the Rose and the Payne's Gray-- just to cut through let's see right down in here.

just to narrow that just a little bit.

Just a little cut through there, a little more narrow.

It kind of flares out for the snout.

The snout is pretty good.

I might put just a touch-- this is a color that we had on the tree foliage.

See how it's just a little lighter?

That's very nice.

Now that horn I don't want to be real light, but I really want to have just a little form on it.

So this is the color that we have up here on the body, Yellow Ochre with just a little bit of red in it.

Just slightly.

Just a little form, a little roundness.

We used to find these horns out in the pastures when we had cows.

I don't know, I guess sometimes they fall off, don't they?

Is it kind of like they fall off and grow new ones?

Whatever, that's the way it was.

Now, let's come to the light area.

Look at the light area.

What do we want to do on that?

We want some little character.

A little suggestion of foliage, of foliage yeah, hair!

Yellow, Raw Sienna, just a little bit of red.

And the stroke, the stroking is so helpful towards representing what we want.

So it's really a daub stroke, and someone would call it broken color, and that's what it is.

You can see the color separate from its neighbor.

When I come closer to the eye, which I haven't done yet-- I'm still continuing with this a little bit around.

And as it goes out to the edge, you might have to just tap it a little bit or there'll be other colors there.

Let's come a little lighter.

I have some yellow, and I'm going to reach over and get a little white.

Yellow and white.

Still the same type stroke, but see how it emphasizes the center of interest near the eye.

And while we 're talking about the eyes, I want to go down to the palette and pick up-- I have a liner brush, and I want to pick up some of my dark... and come back up and make sure that we have just that little eyelid there, just slightly like that, just enough so you know it has 2 eyes.

You look great!

As I go further back on the body, I look at what's there, and then the only rule that I have, I'm going to make it a little lighter.

So this is a reddish tone mixed in with the Ochre and white.

Yes, that works.

I do a lot of directional strokes, these, sort of a slant.

Then you have one that comes along the muscle along that front leg.

And while I have this color on the brush, I'll keep coming down here, and then I'll go out in the back.

The difference with this one, and these that are in the back, you have the same color, but you're not placing it on with a tap tap, broken color thing because it's so far away.

You see the color, but you don't see individual characteristics on it.

I'll come over on its neighbor, her neighbor, his neighbor.

Just a little bit, there is a little bit of mottled color, but it's not quite the same as the front one.

While I'm there, let's change just a little bit.

We put some of this in the snow.

This is my sky color and the tree color mix, and I want to put this just nearby so it looks like they're kicking up snow, which they were.

They were really powering into the snow.

And I'm watching here where I touch the backside of the bison, just a little bit so it isn't quite so cut out.

Oh, you're still there, aren't you?

Oh, this is so great!

Show number 3 on doing "The Bison."

I'm back up to the part up here.

What's going to be a little different there-- this is the reddish tone that we put on earlier.

I want to put just a little bit of the gray in it.

That's great!

That's the tree color plus a little red.

So when we put this on, notice the little bit of coolness that is there.

It makes it feel like it has just a little frost or snow on it, and that is just what we want.

We want to feel the element of the time of the year.

This is such a good time.

I keep coming down here.

I think you can hear the click of my brush hitting against this canvas.

Isn't that great?

Okay, we'll come down lower.

Now, when I come down lower, I want to do the same thing, however, I need to change the value.

The value has to be darker, so it doesn't pop out.

Let's see what we have here.

This is the tree color.

Let's darken it a little bit with some of the black, the Payne's Gray and the Quinacridone Rose.

We'll try this.

If it works, then it works.

It works!

What we said earlier up above, we said there's a little feeling of snow color, so I'm going to take some Cobalt Blue and come down and put it in the same thing I was using so it'll have just a little bit of blue flavor.

There, that's more like the snow color isn't it?

And watch when we come down lower.

It's so funny, you're there and your looking, and I say, "watch, watch!"

Like what else would I think you're doing?

You're watching.

Let's go a little darker.

The blue mix down there, and when I come down in this area, I want to go a little bit lower than the edge of the line so that it'll feel like it has some fur.

I don't know what they call that, hair or fur, whatever it is, but that's what it is.

Then I'll come up front, the front of this leg, and I'll want to make sure that flows out just a little bit too.

And we'll do the same thing on his beard.

Mmm, that's good!

This is good!

He does have a little bit of feeling coming down, so I don't need to do too much of that, but I will take and make just little broken color strokes.

This is some of the from the sky color and from the tree color.

Let's see what this does.

Right in here.

Nope, not light enough.

Lighter, more white.

When I do this, see, it's broken which you can see the strokes.

That's a good way of saying "broken color."

You're seeing strokes, little individual colors together.

You can call it loose painting.

You can call it impressionistically done.

A little stronger right in there, too.

You have a nice beard!

That's very pretty.

I want to wipe a little bit in front of your face because that little pink is too much.

When I wipe, it goes right down to what was there previously, and that works for what we want.

Let's come back to the tail because I want to have a little feeling of that's kind of loose.

So I have the same color we just put on the beard.

I'll put this on, and when I put this on, it'll soften that line a little bit.

And then when I get down below, lower, we'll go out with a little bit of it so you have kind of soft strands.

Let's see if we need to do anything on him.

Maybe just fuzz his hair a little bit.

So I have the same reddish tone that we put on the front of his head.

We'll put just a little bit.

And this will also, besides putting color variation and form, it softens the edge slightly.

Just a little bit on the face, not much.

What about you?

We need to treat you all equally even though it's different.

I think what would help a little bit too-- I'll take the mop brush, and I'll just tap.

It's a dry brush, dry and clean, just tapping these around, so they're not quite as noticeable being individual strokes.

That looks much better.

He felt a little scraggily!

I find that I can go a little lighter a couple of places.

One will be right along here.

And that almost as you look at it, it just about indicates that there's some snow on it, and I wouldn't doubt that.

So here's some of the snow color.

Again, the stroking, the stroking is so helpful.

Go up just a little higher there, and I want to go back on the shank, or leg, with the idea of showing the fur and the colors.

So the same stroking.

We're just a little different direction now.

I'll go this way.

I think that that's not quite light enough, just a little more white in it.

Yes, that's what I want.

I'll use the blender brush on that in just a minute too.

I am going to push a little bit out there so that you don't have that dark line anymore.

It makes it look like the edge of the bison has color on him.

Little bit down here, the shank.

Now the front of the leg there, it's nice and an accent, but see, we need to have just the smallest-- oops, let's use some of the darker blue color that we used down at the bottom there.

So again, it feels like there is some fur on the leg.

This one can have just a little bit on the back of that leg, of that shank.

Maybe a touch on the front, just to soften.

What about this one?

Yes, he needs that too.

Going further on this one.

I'm going to put some on so we don't have quite so much opening there.

That opening makes it look a little hard so I'll push this down.

What about the outside?

I don't know if you noticed it or not, but we have the dark there, but I have almost touched it with a little softness.

That's good, so you don't get quite such a hard cutout edge.

Even this horn area.

I need turn the brush like this.

I hope you can see that.

I'm not adding any extra paint-- I guess I am.

Just so it's a little lighter, just a little softer like that.

So it's not such a cutout look, not such a cutout look.

Okay, the other thing that I want to do is I have a liner brush, and I have some of the-- what should I take?

This is Cobalt Blue and some of the Payne's Gray-- might have to put just a little white in it.

Okay, let's go up, just a little stronger on some of these branches.

And as I do this, see I can kind of skip along, and then it'll give the feeling like there's a little snow on them.

I'm just touching the finger on to soften them slightly.

A little bit over here.

When I come down, you see that I don't quite touch the buffalo, the "bison," the "buffalo"-- they're both good.

♪ Oh give me a home where the bison roam.

♪ Okay, let's take a fan brush, and the fan brush will be used just to sort of tap along there.

I want the smallest amount of Turquoise Blue and white, with a little bit of Ochre on it, just the smallest little indication of just a little bit of green on that.

The trees aren't green, but as you look through, you feel that quality.

Use if for softening, and over in here.

Now, one last thing I want to do for sure is to blend a little bit on the snow.

Blending this around, blend there.

Remember we put that in there?

Then we put it in the distance, the distant trees.

Coming across there, you sort of disguise that.

I need to add a little paint so I can disguise it, just slightly.

I like that little pink look!

Now, I want to make sure that I can put some distance between the trees and the sky, so a little lighter there.

This is often such a good principle when you have something and you want it to stand out a little bit, you just go next to it and with lighter paint kind of disguise so it's not too cut out.

But do you see the difference where that is separate from there?

Even against the body, if I have just a little softness there, then blend it around too.

Okay, let's put just a little teeny bit of that-- let's try it again.

When we started out, we thought that was good, but it wasn't quite good.

Now, see how that's a little lighter?

Then you feel like it can go behind.

There's space between the trees and the animal.

I feel like we need to have somebody come up guess my name.

Rumpelstiltskin!

Cameraman number one told you!

He told you!

I don't know your name.

I apologize for not knowing your name.

I'll know it before I leave North Dakota!

That's very pretty.

Let's see if there is anything else we need to do.

Maybe just bring the light down just a little bit more there.

I do want to take one more look with my mop brush, mopping what we put into the sky.

Mopping across the trees.

See, I have no problem with using the brush that way at this time.

Now, if I want to mop in on the beautiful animal, then I wiped a little bit so I didn't bring any snow in on the body.

I hope that you've enjoyed my putting this together.

We've done it in 3 weeks.

I think that is so neat!

The objective--if I do something in 2 strokes, you say, oh, you did that in 2 strokes!

And I'll say, 2 strokes or 20 strokes, the objective is being done-- not how fast!

See you next time!

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by the members of Prairie Public.

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