"The path of the wise is to seek the wiser," so says Gracian, but you stay tuned and I'll tell you something even wiser.

[piano plays; bright in tone] ♪ ♪ ♪ ♪ You be the judge.

Let me read again what I said on the opening, "the path of the wise is to seek the wiser."

That sounds like, "I see some great art, I'll go follow him."

But listen to this, listen to this.

"He that walketh with wise men shall be wiser," so that means you're right with them, and you're learning from them.

I think that's what these shows do.

You're right with me; you're not looking at my painting later and saying, "Oh, let's see how he did it."

You're with me!

Anyway, the first one was from Gracian and the second one was from Proverbs.

I'll stick with Proverbs.

Let me show you again, the pochade, which is our model.

That's been done very carefully, but with inspiration, and left.

Then I decided I want to make a larger one and I wanted to use this to show you how we get from the smaller to the large one.

In other words, how do you do that if you want to paint a painting of it?

We arrived at this stage by using acrylics.

Remember we had Permanent Green Light and white as our priming.

You can still see a lot of that.

Then we put some yellow and white over it, some Raw Sienna, some red and white, some Quinacridone Rose underneath, and then a little of the Raw Umber on top of that.

Gosh, that's kind of like giving you a little synopsis of what we did before.

What a great thing, doing a preview!

We are going to go on with oils now.

This was the acrylic stage, now we do the oils.

I'll dip in with my large fan brush.

Just a minute, I have something new.

I think maybe it's in honor of painting on PBS for 20 years.

Look at this brush.

If you were to ask me, "How old is that?"

If I said, "It's a week," you'd say, "Oh, that's good."

But what if I say, "10 years?"

You say, "Why haven't you used it?"

I was a little fearful.

Bologna!

Brushes are made to be used.

You use them, you get in there and try.

Don't let anybody tell you that you can't do it.

You're coming up here and you're using the walnut oil right away.

I'm talking to the brush.

I'm putting it on kind of generous like.

We'll quickly take a paper towel and spread it around.

This will make it so we can do some very thin colors on top.

It makes it quite nice and I don't have to dip into the walnut oil, other than to clean the brushes.

Let me emphasize how important it is to me and to you, nontoxic.

Just because something says it's odorless, it can still get in your system.

So be very careful.

The Walnut oil is going to be used a little bit with Van Dyke Brown.

So what is this going to be?

This is going to be a Saturday night bath.

Can you imagine a Saturday night bath looking like that, dark?

But it's purpose is to kind of-- Woo-hoo!

Isn't that stormy.

Well, you just wait and see.

That was my new brush, he's not experienced yet.

So I'll push this around.

You get that nice feeling.

Just look over at the top right side, where I'm working.

See, I can work like that.

Compare that with this.

See how raw this looks?

That has a nice tone to it.

We're doing this all over, but I think that was a pretty good indication of what you can expect a Saturday night bath to do.

The nice thing about the underneath, it's all dry, so I don't have to worry whether some of this goes up in the sky or touches the trees.

I will wipe a little more firmly right in the center of the sky where the sun is going to be.

"That's beautiful."

Thank you!

Ok, now let's come with some color that we'll put in the sun area.

I'm going to try this... you're a little dirty.

You did the bath, but you came out dirty.

I'm using another fan brush.

This time I'm going to take some yellow.

What's happening now is, it's almost like a double glaze.

I'm using a glaze, not a Saturday night bath.

A Saturday night bath covers everything.

The glaze will cover an area.

This is pure yellow.

The reason I'm doing this is because I notice on the pochade: as I go higher up here, as it thins out on that Raw Sienna, it almost has a little green look.

I think that is very desirable.

I'll let this come over this way as well.

It makes it too, so that I'm working, when I put my lightest light on, that it will go into something that's a little wet.

Besides the Van Dyke Brown, it'll have a related family there, a relative.

Let's mix this.

This is yellow and white.

It looks like I got paint on there, but I think you're left over from acrylics.

It just has a nice color to it.

This is yellow and white.

I'll tap this on with the knife.

Hm, very good.

Now I'll wipe the knife, and I'll continue tapping to make a little blend.

It's tapping on to the yellow I put on earlier.

I'm tapping, and I can also kind of roll it a little bit, whichever works for you.

This is working for me-- the tapping then rolling it around.

We'll stay in the sky.

The thing I want to do very quickly is establish my cloud bank.

I'm going to use-- I already have a little bit, but I want you to see it being done.

This is Rose and this is Turquoise Blue, equal parts.

Then I'll add a little white into the side.

Oh!

I'm finding that it needs more rose.

A little more white, so I'm not too dark.

That's great.

That's the rose, and Turquoise Blue, and white.

Take the fan brush again.

Notice how I load that, it's almost half the fan brush.

That's the easiest way to say it.

So it's more than just the corner.

As I push this on...

I'm starting right there, I'll push over to the right.

Once I go up a little bit you'll watch the cloud form.

I like particularly what's happening near the trees.

Remember that previous Quinacridone Rose that we put on in acrylics?

You can still see it, because we didn't bring our Raw Umber up over to cover those.

I like making use of the priming, the acrylic stage.

I think I'll need just a little more of the rose.

Yes, that's better.

This goes right over here.

I'll push it a little bit.

We'll push on up into the sky, slightly.

I think what you find on this show is, we show you many different styles and so on, but let me make this point-- I've run into people where they'd say, "there's two ways to paint-- my way and the wrong way."

I'm not saying that.

This is my way, and my way can be a variety of directions.

I'm out to learn.

Once I learn, I have a responsibility to pass it on.

You do too.

You really do.

There's no such need to say, "Saturday night bath, that's Buck's, we can't use that."

Use whatever you wish.

It's all yours.

None of it's mine.

Oh, I like that!

Just a little extra rose.

Notice how the extra rose comes down as we come closer to the sun area.

Soften it around.

There's still going to be that contrast that I want, but I don't want to have hardness there.

You want the trees to be more definite than the sky.

Do want any over here?

I don't see it in the pochade, but I feel it should be there now.

Did you here what I just said?

I hadn't stuck with a plan!

I don't need to, the brushes tell me what to do.

On the lower part of the sky I want to have some rose and white.

Notice how I clean that brush.

Dip it in, just a little bit on the side, and then on the paper towel.

So I don't dirty my oil too much.

If it does dirty you can let it set for a few days and then use it again.

Do I want that red?

Yes, I do.

This is Quinacridone Rose and white.

I keep going back and forth, picking up a little white, a little rose.

This is down here.

Ooo, yes, I say "yes" but I'm going to still put a little extra rose in it.

I jumped fast.

I hope it's easy for the camera people to follow me.

I could stop there and like the painting!

"Please go on Buck."

Likewise, I'm using this to push up just a little bit into the sun area so it softens, and it's a result of being in that area, near the sun.

When I look at the sun my thought is, I could even go closer to white.

We'll do final dessert strokes.

Let's come over to... this is Cadmium Red Light.

I picked a little Cadmium Red Light up, a little white.

I just feel a need for some of that.

I'm touching a little bit in the rose too, so it's Cadmium Red Light with white with maybe a touch of rose.

Oh, good job.

I'm not talking about the artist.

I'm talking about the paint!

It does the work.

Over on this side.

This is all before we put on the trees, so the character of the trees will help tremendously.

I'm not going to touch that yet.

What I intend to do is blend a little bit more.

Let's just see if we need to do anything else up in the sky.

Raw Sienna was put on with the acrylics.

Now I'm going to take a little Alizarin Crimson, that's Yellow Ochre by the way, and Alizarin Crimson.

Alizarin Crimson and Yellow Ochre get me very close to the Raw Sienna look, but it'll have just a little more warmth to it.

As I do this I am certainly making use of what was underneath there, so this has just the smallest change.

Let's go a little bit to the right side, up in the sky.

Still on the left-- I have to go back to the left.

This is just a little rough looking, so I'll just come up there.

I watch these shows too.

I watch them later with a DVD set.

Sometime I'm doing it, I think, Buck, go over there, go over there!

If I do I think, ah, good.

If I don't I think, nuts, hope no one noticed that."

Let's blend that just a little bit.

I'm using a mop blender.

I really like that.

I don't know what else you'd call it, but it's a blender.

I use it a lot for tapping in colors, but it's also good just for a straight blend.

Very gently as I come to strategic areas like the sun.

I'll go just gently across that.

Ooo, beautiful.

Then soften a little more firmly as I go up.

I'm touching down into the red a little bit, the red that I placed on.

I'll come across here with just a little stronger blend.

See, that's powerful, that's a place you'd like to go and visit, wouldn't you?

That's a place I want to remember.

I do what to come back with just a little bit more of the Quinacridone Rose and Turquoise Blue, and white.

Just a little more definite feeling up there.

Ok, that'll do.

Do I need any of that over here?

Only as a balance.

If you're playing Sudoku we need some of this over here.

See what that does?

It just has a nice rhythm on it.

That was necessary, even though the pochade didn't have it.

Now let's come down with... this is Van Dyke Brown and I'm going to put a little bit of Alizarin with it, Alizarin Crimson.

Gee, you're beautiful.

It's just like taking my wife to a store, everything she tries on, "that's beautiful," because it's a beautiful person.

So that's it.

That's a beautiful color and it just does its job well.

Ooo, that's pretty.

I'm tapping this.

The reason I'm tapping this is that I want to make a little bit use of the color I put on previously: the acrylics, the rose, and the Raw Umber over it.

I'm going to come back just a little bit.

I kinda wipe the brush, just touch-- little teeny bits of character on the ends of those trees.

Notice how you leave that pink.

Isn't it pretty, leaving the pink there?

As we come over here, I think I said earlier, in maybe the acrylic stage, that you would tap up, put just a little bit of the...

I'm borrowing from your neighbor.

Tapping up like that.

I need more paint.

Same thing, down at the palette.

You get your own outfit.

We'll do this and I'll do what I suggested needed to be done, particularly in that area, because that are is very much in the focus.

What kind of brush do I want?

I have a round brush.

Quit hiding, quit playing hide and seek!

This is a little bit of the pink.

This is rose and white with a little bit of the red in it.

When I put this on I want to have just a little bit on each side, so you like like you're looking through and you're seeing a little bit of the trunk of the tree.

I'm going to come over with a some of that same thing.

When I say "same thing," it's just a little darker, Using the rose, a little bit of the red.

As I go further to the right-- see, I don't want as much white over here.

But I do want to see through just a little bit too.

We'll see, we might have to blend those just a little bit.

Over on the left side, going with the trees.

This is the Alizarin and the Van Dyke Brown.

I'm going a little faster there, because it doesn't have quite the need of character that the right side has.

You know what is so neat when you make these shows?

You always feel, I've got so much to show.

I can hardly wait till next time.

This time what happened on this series is that we are putting in the spirit first!

Putting in the spirit, then putting in the detail.

As I go in towards the middle of the canvas...

I'm taking a little Rose, maybe a touch of the Van Dyke Brown.

Let's see what happens here.

Yes.

See, this gives me trees, which I have kind of a silhouette effect.

Which is not different than anything else, but the silhouette is more warmer.

It's more reddish because you're under the path of the sun.

We better come down on the bank.

I want to take a little bit of this same Alizarin Crimson and Van Dyke Brown.

We'll push this on the sides.

Notice on this, somewhat similar to what we did over in the left trees.

We brush it on, because we want not so much character.

It's very much in the shadows.

Come down here a little bit.

we'll come over to this side, slightly softening the bottom where the tree are.

Coming down into the water.

Now I think what I would like to do, I don't necessarily see it in the pochade, but let's do this, let's take a little bit of what we put up for that dark cloud, the Turquoise Blue and the rose and white.

See, we can put this on, then you feel like it's water.

It has a different flavor than the meadow and the other things.

How much of the underpainting that I'm making use of.

Of course that Saturday night bath.

I think that is one of the finest innovations in art, because you tone everything.

You can say, "Buck, my teacher glazes, puts a veil on."

Fine, fine, whatever you call it, use it.

I wasn't making fun of you, it just seemed that way.

Let's take just a little bit of purple.

Where's the purple?

Here you are.

Somebody pointed this out to me.

said, "I see some purple in that pochade.

Are you going to do that Buck?"

I thought, thank you.

So we're adding the purple in.

I'll put this on, then I'll come back with just a little bit of rose too.

So that there is the interplay of the two colors together.

Then of course, we'll have to put on our strong lights, which will go in the sky and in the water too.

That's strictly acrylics there.

Here's a little purple over on this side.

Ok, the blender.

I'd better clean you.

Oh, this is so much fun!

I love the camera crew, my director, my floor director.

They're so good, they're so easy to work with.

That's what makes these shows so possible.

When you have people that care about you, that care about the show that's being done.

You see, I have a director, she will not settle for anything second rate.

I think it makes a better show.

it makes me better, and it's really neat.

Soften across there.

Isn't that beautiful?

I like what those two little pink spots do, so it comes down.

Now just a little blending on this side.

Then what I need to do, of course, is show some of the happenings in the water.

We've put on the water, but now we need to have just a little bit of pinks coming down.

Here's a pink from the sky.

We'll put these down.

We have just enough time to do a great job.

Put those on, blend them.

I'm going to overblend that, because I want to come back lighter with that.

This is yellow and white.

On the snowplow, we'll push it this way this time.

We can come up and place it on there.

Ooo, that's powerful.

I'm softening the edges a little bit, so the real sharpness is right down close.

We'll take just a little dark.

This again, will be the Van Dyke Brown and the Alizarin.

See there's a couple rocks out there.

To have them set down, you just soften a little bit underneath, just a little bit, kind of a reflections.

Then let's go up to the sky with our white.

Very seldom would you ever say put pure white on.

When it's wet and when it's yellow then this will mix right in, so it won't be garish.

I want to blend just a little bit.

I have one thing I need to do before we leave.

I'm so glad I thought of that.

That is taking some, this is Viridian Green with a little yellow, and we'll tap this on right in the path.

Right in here.

Just every so gently.

See, it's a bridge.

it's a bridge between the sky and the shore down there.

Let's flatten this just a little bit.

Then as we go away, we are pretty much going to be doing the blending.

I'm so glad that you came to the meadow.

If you try doing it, I'm so happy to receive your emails with your pictures.

You show me what you've done, and I tell you, I make comments on them.

I try to be nice.

I kind of find out what you want to hear, then I tell you that!

That's what one person said, that's how he gets along with other artists.

He tells them what they want to hear.

Especially when they say, "what's wrong with this painting?"

If you ask somebody, tell me what's wrong with this painting.

They would tell you; they would find something, so you don't approach anything like that.

you say, "I did this!

I love it!

I hope you do too!"

We'll see you next time.

Thank you so much for watching!

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

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