 Once again, you're in the studio with Kitty Lynn Klisch. This is the fourth of a four-part series. We've been painting this lovely painting for you. I shouldn't say the painting is lovely, but I'll let you decide that. But the scene that we're painting is there on the wall. And we're putting the two pictures together, the upper left-hand side. You can see the sky and then the red trees behind and then lower. We have the barn and I've added a silo. And so we're working right along. Now today we're going to really have to work hard because we want to finish the painting today. This is it. This is going to be the last part of the show. So I'm not going to spend a lot of time talking about my supplies. If you've been with us and you know what I'm using and everything. So without further delay, we'll just go right into the painting. Now so far I'm down to this bush on the side here and the barn and the silos laid in. So what I want to do now is get some interest going across here in this field area because as I told you before, I'm working from the back forward. Grab a brush here and we'll take this one. And here we go. Now as I look at the field, I'm seeing a lot of different colors. I see some red. I see some greens and some nice golds in there. The light is coming from this direction. That's why this is lit up and this is going to be a little light right there. But right back there we need a little bit of dark. So we'll take a little ultramarine blue and make that just a little bit of dark there to show that that is kind of in a shadow area there. There we go. Now we always want to be thinking about light against dark and dark against light. So since I darkened next to the barn there, that means I have to lighten that edge in order for us to be able to get that feeling. So I'll just put a little bit of orange in there. Well, that looks kind of nice. I'll put a little more in there. Yeah, there we go. Okay, now then we're back to the golds and I'll take some of that Indian yellow and that'll be kind of nice and strong. Indian yellow is a very strong color even though it is a pastel. Now I have to work very fast. So I'm going to just be scumbling this all on, layering my colors. I'm using liquid for my medium and this is the point where we want we want to get closer to finish. So now this over here is darker right in there because that's in shadow and that will make dark too. Make that dark behind there too and that'll punch that up. There we go. And now then we're working very hard. We want to get this done. This is our objective. We want you to see a completed painting here. So we're going to take some golds and go right over it. Right in there, okay. Now, the sky. I used a downward brush stroke and the trees in the background. There again, a downward brush stroke. But now for the land, for this field, I want to open it up and make a horizontal brush stroke because then that way it will look like it's coming towards us. Now I've got to do this little bush there. And I think that maybe we need a little bit of a different color. Let's go with a little bit of a blue-green for that bush and just to make him stand out just a little bit. Perhaps he's not quite as turned as the other bushes are. And so we'll just make him be a little bit of a greenish. There we go. Now that looks nice. Perhaps a little brighter here and there with the green and then the shadow underneath. We've got to have that shadow underneath. Okay. And then he's casting his own shadow too. Now, of course, we have to have a light side. So we'll take a little bit of our Cad Yellow Pale which is a brighter, more of a lemony yellow and we'll just create the feeling that perhaps there is a little bit of light hitting this bush right over in here. There we go. Now I don't want to get too bogged down with this because I've got a lot of ground to cover here and so I better get busy. Kick it into high gear here. Now this can go right on through because I can wipe that off. I have my trusty wipeout tool so I can wipe out areas that I don't like. Add a little light to that. As this comes forward I want it to be a little bit lighter and I don't care about detail. This is just a field, you know? So it doesn't need any detail. I want to skinny up these fins posts. I don't know. When I drew them I made these huge fat things and then afterwards I thought, well, why are those so big? They don't need to be. They're smaller. And let's see. This is coming up and down. You see that beautiful in the photograph over there. You see that beautiful dark area in the foreground. Now I definitely want to put that on there. There again we're getting a little bit lighter as we come forward. We want some light over here but I think we'll have some green over there too. You know, the field isn't going to be just gold and it's going to have little areas of green. It's a little bright. I'll tone that down with a little bit of blue. There we go. Okay, now in the foreground here we have this shadow area. Now I want to put a little bit of alizarin crimson into that shadow to make it. I don't want to make it just with the raw or the burnt umber because that'll make it too dark and earthy. Raw umbers are very dirty color and even though we're painting dirt we don't want it to really look all dead. We want life in this shadow that's here in the foreground. Yeah, and then there's this shadow back here too. So, let's see here. Now we'll put some strokes on top of this. Right now I'm what you would call underpainting. I'm getting my big shape blocked in so that I know where I'm at. And then this goes up here like so. Right in here and right in here. Okay, now that's up in there. Okay, now then we have some light right here in the foreground again. All righty. Let me take a little wider brush. Lighten this up. Okay, now coming right across here we'll have some light and we'll pull these shadows out into that a little bit. Now the fence posts, we want the fence posts, they're very old looking. They're not new by any means. So, and since the light is coming this way that means the fence post is going to be dark on this side and it's going to be light on the other side. But now we want to make sure we get this nice and gray. We don't want these to look like new fence posts. If the fence post looks new, look new then it will really ruin the whole feeling of the painting. All righty, that shadow back coming back here a little bit. A little softening of that. Okay, now then we've got to put the ground up close to the fence post. The field that's behind it there. All righty. Now we won't worry about that right now. Put some light in here. Lighten that up a little bit and we're working really hard now because we have to finish. And so we don't have time to spend a lot of time working on details. So now we're going to just, we're working full out. Okay, now we're going to block in this tree that we have here on the left. Now there again, since the light is coming from the left to the right we want the tree to be dark on this side. Hmm, are you holding your breath? I am. There we go, right up in there. Now we don't want wimpy branches. And by that I mean long, you know, swoopy branches. So when I put on a tree I make lots of little short strokes. I don't want those weak looking droopy branches. I want crisp looking branches. There we go. A little color in there. Just pulling that right up from what's behind there and that works out really nice. Soften that edge a little bit there. There we go. The tree is taking shape here. A little bit of dark down here on the bottom. Now I have gold coming in this side. I need some gold to come out the other side. What goes behind should come out the other side or it looks cut off. That's kind of a rule of thumb. So we need to put some gold back over in here too and then it looks like it's actually going behind the tree. If I don't do that it doesn't look like it's going behind. There we go. There we go now then. Down in here if time permits we'll put some grasses. First of all though we need to get these branches on up here so we notice how I just pick the brush up. I go and then I pick it up. I don't make one big long stroke because if I do that then it looks weak. Trees that are painted like pipes that are tree limbs that are painted as if they were piped joined together are a lot more interesting. Okay. This almost looks like it's a dead tree. And that's okay too because there are dead trees out there, lots of them. So we'll see if we don't have enough time to put any branches on it then it'll be a dead tree. That's the beautiful thing about painting, you know. It's yours. Do with it as you want. You tell the story and if you decide that you have to change the story or if a better story pops into your mind then tell that story. It's always changing. It's a beautiful part about painting. It's always changing. Until you sign it and then when you sign it you shouldn't change it anymore because your signature on that painting should be like you saying you are completed. I will not touch you anymore. You are born and you are mine. That's the way you should feel about it. It's a beautiful gift to be able to paint and I thank God every day that I can stand here in front of you and do this for you because it's really a blessing that I never forget for a moment that I have been blessed with and I'm very, very thankful for it for this time to be with you here. Painting this painting I hope you're having as much fun with it as I am. Okay, now we'll go down here and we'll try to get a little different brush maybe going and see if we can't get something going here as far as a little cap on our... I know what I want to do. I want to do this right here. Take a little bit of this red and put right there and then put that down there. Okay, now that helps those to stand out a little bit more. All right. Now then, we need some greenery. There it is right in my hand. My goodness. There we go. There we go. Now I'm putting some green into the browns and I'm going to come up in here and I'm just going to dance just a little bit of some stuff and that's supposed to be stuff that's growing and I'm just dancing it around and curving my brush and dancing it back and forth and this is going to be little things growing in here and little grasses and all the little things that would be in the grasses. I hate to think about those. I'm deathly afraid of snakes and we have some pretty big ones here in Wisconsin. They scare the heck out of me. I still go out and paint anyway. I just make sure that my pants, my legs are covered and that my, I've got good shoes on and everything because I stood on a snake one time and it scared the living and beat Jesus out of me. When I looked down and saw I was standing right on this big black snake. I felt this wiggling underneath me and I couldn't understand why this looked like a rope or something. Here it was, a big black snake. I think I scared him worse than he scared me. I must have jumped about 15 feet and I never saw a snake move so fast as he did to get away from me. We're establishing some grasses and some business down here and I can take this to whatever degree of finish that I want at this point. But if I had to quit right now it would be okay. It would be okay. It would be alright and I think I really would like to get some of those leaves on the tree for you. There we go. Maybe some green in here to kind of... Now you know your signature becomes part of the composition in a painting. So you want to think very carefully where are you going to sign it and how are you going to sign it? You know, you should sign your work the same every time. Then that way when people see it they recognize the signature as well as the style. Speaking of style, don't worry about style, that comes. That will come. Be patient, just paint and slowly your style will come out. You will evolve. I'm going to go back in here and put some little trunks in here. There we go. A little bit of business in there and I'm going to spiff that up. Alright, now we've got a bush here and we've got light there. So we need to come back in here, back there, because we want to show that that's light going back there and then the bush, that yellow bush is out here in front. So I don't know if we did a very good job there. Let's make that little orange or maybe it will show up a little bit better. There we go. Let's go back and we'll make this guy here a little bit orange or two. There we go. It's this beautiful stuff that grows along the road sides in Wisconsin. And in the fall of the year it turns all these wonderful, gorgeous colors. I always ask my husband, please stop, I want to take a photograph. And it seems like, I don't know, it must be my imagination, but it seems like as soon as I say please stop, he speeds up. He's got one out. But he's got my number, that's for sure. Okay. Alrighty. Now then maybe a little bit of orange right up in here. Now let's see if we can get some simple little leaf patterns on this tree up here. Now I don't want a whole lot, maybe just a little something that is still on there. I'm being very careful now because this is the point where I can't really rush. If I rush it, it won't look good. I have to plan where I want to put these. Because I want them to look like little leaf patterns. So I'm dancing the brush back and forth and trying to get a bigger shape with smaller shapes inside of it. Alrighty. Let's see here. Now you want to be careful because a lot of your leaves don't come out the same. You don't want lollipop looking trees. So this one sort of looks even to even to me. So I'm going to bring that when that branch out just a little bit more. Make it look like it's going out behind the tree a little bit. There we go. And there's just a few. Now I've got to be very careful because I have a tendency to want to put too many on. Very, very careful. You know, because we want the feeling that most of these leaves have fallen off of this tree at this point. Maybe a little bit right up in there. And then, okay, now if these leaves are falling where did they go? We have to have some down in here in order to show that these leaves have been falling down in here. Otherwise, it's like where did the leaves go, lady? If you're telling a story, you've got to tell the whole story. Don't be losing out on an important part of it here. So the leaves have fallen down here and this has all got lots of leaves around it there. There we go. And that's where the leaves went. Okay? It just fell along in there and blew all over. All right, now maybe we could have just a little bit more up here on this side here. This doesn't look too bad. Maybe this could be just a little bit bigger here. Oh, I have to be so careful. I get so mad at myself. I'm always putting on too much but I just feel that we need a little bit right in here. There we go. Just a little color on that side there. And then, you know, you always want to step back. Step back away from your work. Don't paint with your nose right up there on it and try to hold your paint brush back too. Let the brush do the work and step back and, you know, make an assessment. What do I need and where do I need it? This is most important. Really most important. Some of the best advice I've given you so far. All right, I think that looks pretty good. A little spotty. I think maybe we could have just a little bit more right in this area in here and let that be just a little more important. A little bigger spot because those branches don't all fall off quite that quickly and easily. There we go. And we need a little dark in there too. Remember those values, dark and light, that's so important. There we go. Okay, now. Here on the tree here on the side of it. You know, because we've got that light on there. We'll make this a little bit of light in here too so that we can see that. Whoops, that's too far over. I don't want it that far over. Now I have to go back in and put the dark back in there. There we go. There we go. Yeah, and see nice lights in there to kind of brighten it up and the story has to ring through, you know, all through the whole canvas. If you're going to tell a story, make sure that the story is all the way through the whole canvas. This looks to me like it needs to be just a little bit darker up in here maybe, just a little bit darker there and a little bit darker there. There, there. Okay. Alright, that's looking pretty good. Yeah, I think we'll go ahead and call that pretty much done. I just want to there again put a little bit of light in the foreground here and then I'm going to sign it right in here and I think I'll sign it with the red, you know, because as I told you before the red is my favorite color so I'm going to sign it with the red. There we go. I always sign my paintings with my last name. I want to thank you so much for joining me. This has been a real treat and a pleasure to be able to be in the studio with you. Once again, this is Kitty Lynn Klisch. I hope you enjoyed our show. Please watch for us next time. Thank you and bye bye for now.