 You are in the studio with Kitty Lynn Klisch. The geese are flying over and the leaves on the trees are turning and autumn is in the air. So sit back a while and be with me while I paint this lovely fall scene for you in oil. We have it, we have the painting started. The photograph that you were looking at, that is the scene that we're painting, but we're making some changes to it. And this is how far we've gotten so far. We have drawn it on the canvas with charcoal and then we have fixed the drawing with some acrylic and then we wiped the excess charcoal off and then we were able to start painting in the sky. So this is where we're at right now. Now I have this tree that's going up through here. So what I would like to do is just maybe wipe out a few of those branches so that we can get those established back in there. So I take the wipe out tool, it's just a little tool with the rubber tips on both ends. One comes to a point and the other is a circle. And I will just wipe out here a little bit because I want to see where that tree should be. Now a wonderful thing about painting in oil that it dries so slowly that you have a certain amount of time that you can make corrections and make changes and that's the wonderful thing about painting with oil. So now as I wipe this paint off of here that was put on a previous show, just wipe this off and let those branches come out here and create new branches. Now when those branches are painted in front of the clouds that are behind, we're really going to see a nice look of distance. The clouds will seem very far away and the tree will seem very close to us. Now most of the branches on this little tree are up rather high and I do want another one to go right off there. I want it to fork off at the top there. I think that'll be a little more interesting. It does that anyway but I'm going to accentuate that and make that just a little more important so that I can have a few more branches coming out here. There we go. Now you can see how I can just literally draw with this little tool into the semi-dry paint. There we go. Now then I'm using soft sable brushes, Langnickel or, the brushes are Langnickel or Isabe. They're nice and soft and I get a nice coverage with them. And my palette, let me go over that again with you. It's white, Naples Yellow, Cad Yellow Pale, Cad Yellow Light, Yellow Ochre, Indian Yellow, Yellow Ochre, Cadmium Orange, Cad Red Light, Grumbucker Red, Burnt Sienna, Sap Green, Viridian, this was Cerulean Blue, Ultramarine Blue, Cobalt Violet, Alizarin Crimson of which happens to be my favorite color, Burnt Sienna and Ivory Black. Now over here on this side here you see I have some mixtures already. These are mixtures that I had for the sky. I scraped them up and put them on the side here. And just in case I need them for fill later on as I'm going along and doing the tree here. But right now we're going to address the trees and the photo on the upper left-hand side. You'll see that those trees are very, very red and very pretty. Well I'm trying to put that sky and those red trees behind the barn that is in the lower photograph. That is my intention. I'm actually combining those two photos in order to make one painting because I think that they both have beautiful points about them and they both have points that need a little addressing. So here we go. I'm going to start those trees. They're not, you know, you want to go in there and you want to say, oh I'll just put some red up there. But it really isn't a true red that we're seeing. It's a grayed red. So I'm going to start with the burnt sienna. That's a nice earth color. And I'm going to add a little red to it. Okay. There we go. There. That's a nice grayed red and, you know, more of a rust color. It's not such a bright true color. You never want to paint with the colors right out of the tube if you can possibly help it. You want to gray them slightly and then only add pure color as like a little color note, like a tiny little stroke of pure color. Okay. And we'll take a little bit of the burnt sienna again because the trees right behind the red ones are a little bit darker appearing. So I'll take burnt sienna. I'll put a little bit of the, excuse me, of the ultramarine blue in there to gray it down just a little bit. Okay. Now this is going to work very well for me. I like to work wet into wet. That's called a la prima. All at once is what that means. And so your paint is wet into wet. This way you get a much nicer effect rather than having the, layering the paint, wet paint over dry. Okay. Now I'll pick out a brush. Let me see here brushes. Which one's going to make a nice tree? I think I'll take this one. This looks kind of good. Now I'm going to, now as I told you before my paint is not dry. That's the beauty of working with oil. It's still damp enough that I can work into it and get the effects that I want. And in this little can here I have my medium. I'm working with liquid medium. It's wonderful. It's kind of a, well it helps to thin the paint a little bit and it also helps to make it go on really nice too. Also will speed in the drying. You know it takes an oil painting between six months and a year to dry completely. So that can be a very long time and sometimes people will choose to speed up that process. Now back over in here I'm seeing that brown. There's that brown that's behind kind of. So I'm going to lay in those darks. Now I can get a little bolder. And then this is coming down right here. Now I want, I'm always thinking to myself light against dark and dark against light. So we'll just bring this down a little bit. In here and some dark over in here. Okay and then this is kind of dark over in here too. Maybe I'll go with a little bit of the burnt umber and darken that up just a little bit. There we go. Okay now we've got to have some separation between those trees. So I'm coming down making my separation. I'm using the ultramarine blue now to gray this up a little bit because right in this area here it really seems rather dark. So we'll go ahead and put that in. There again the trees go grow in an up and down so I'm just kind of at this point kind of scumbling in what I see there. I'm getting the darks laid in first. Now across the top here I want this to be very soft. I don't want us to see the tops of the trees. So I go back in and I soften that edge. As soon as I soften and diffuse that edge I might even take a little bit of the sky color to do that because you know see the further things are away from us well and then the bluer that they will look. So if I take a little bit of my sky color and put on the edge of these trees then that will make those look like they're really way back there way behind. We're working from the back forward so we want to think that way too. You know it's like building a house. You just have to build the foundation before you can build the attic that's for sure. So I'm not going to come down here and paint what's in front. I'm going to put everything that's behind in first and keep layering one layer right on top of another there. There now that gives me a nice soft look that there could be trees way off in the distance. That's what I wanted. That's exactly what I wanted. Now when I put the nice red on there it will really pop. Okay and here we go. Let's get this red on here. So we have a red tree right in here and I'll have to separate these. You know we've got trees down here in the foreground so we can't bring these down too far. And we don't just have red. We have yellows and golds too so I'm going to use a little bit of the yellow ochre. Here we go. Put that on top. Perhaps we see a tree that has a little yellow in it. Oh maybe not. I don't think I care for that. I did it. I don't like it. So I'll wipe it out. That's the beauty of the wipeout tool. You know get a little carried away there. You know what I'm forgetting that my dominant hue here is in the reds and oranges and golds and not bright yellow so I shouldn't have gone there. So I fixed it. Now nobody but me and you knows about it and we won't talk about it again will we? Here we go. Little red over in there. Now we're starting to get the color and we mustn't let it get too bright and garish so we're going to calm that red down with a little bit of the burnt umber and come in and make some darks in there too because we don't want it to be too. Now this is far off. You know it's not like these trees are right in front of us. So we cannot really see detail so therefore we don't paint detail. If you can't see it don't paint it. You know here's what happens. The eye or your brain excuse me is always telling you well I know what a tree looks like it looks like this and it goes like this and this happens and that happens and so you start painting what you think you know instead of what you see and as soon as you do that then it doesn't look like you want it to look. You know just open your eyes really big and look at your subject and find the lights and the darks in the subject and then that's that will tell you. You know I always tell my students the three things that you're concerned with and in this order is shape, value, and color. Don't worry about whether you're painting an egg or a pear or an apple or an eyeball or whatever as you've got to be concerned with shape, value, and color. Not what the object is. Now the light is coming from here so that means that all of this will be in light on this side but this side is going to be in shadow. So after I get these put on here a little bit I'm going to have to go back in and bring in some nice bright lights because the light is hitting the trees also and then this over in here. Now I may just wipe out a little bit and get some holes over here this is looking a little too thick I think. Alright, let's see here. Let's put some holes in there. Let the sky peek through a little bit then it won't seem so dense. You know, this is a Wisconsin forest and they're not always as dense as they are in some other places. Take a clean brush and pop a little sky in there just a little bit showing through here and there. Maybe, maybe not. Let's see here. That opens it up a little bit and then when we put some branches and tree trunks and things that will brighten it up too. And then right in here I think we need to go a little bit lighter so we'll take some orange and the yellow ochre and we'll make a little bit of brightness in here, right in there to show that perhaps that tree is a little brighter and perhaps this one right over here is a little brighter too. And on this edge here a little brighter. And you just kind of dance that brush so that we get the feeling that we're seeing bunches of trees bunches of leaves rather in there. And there should be a bright red too. I love the really bright red ones. I think they're just so awesome. I love the color red anyway. I think it's my favorite color. Maybe right over in here there can be some. And it's just little areas, okay, that you just pick out lights and darks and that's what helps to make it look like a forest. You don't have to worry about painting each branch and doing a whole bunch of detail and everything. Stay away from the detail. Stay away from the detail. Save the detail for last. Just work on trying to get something to look like what it is without telling the whole story. Hint at the story. Don't hit them over the head with the story. There we go. Now this right here I'm going to make a nice big gold bush back in there. I like that thought now. So now I guess what I'm doing is I'm reverting back to the painting or the picture that is below with the barn in it. I'm reverting back there because I want right in here, I want this to be a nice big yellow like bush. Not too yellow though Kitty. I keep it nice and but I want it to seem like it's more in the foreground here. Okay, there we go. Now we're starting to get a nice layered look and we will have to have some darks in there. So we'll take a violet as the complement of the yellow. So we'll take a little bit of the violet and we'll come in here with the violet and tone that down here and there and maybe a little bit of blue in it and create a little shadow, a mystery place underneath it there. There we go. There we go now. Okay and then some nice bright paint to come down over this to hide that maybe a little shadow right in here. So now then, right back in here to separate this we've got a little bit of field going on right in here. So now my brush stroke is going with the direction of the object. Okay. The sky was going down. The clouds are all going every which way. The trees were primarily going up and down and now the land the lay of the land is is that it's going to be like so and I'll come up a little bit in between the trees just to show that that they now this since the light is coming this way we have to have a big dark shadow right here. We have the little oh my goodness I forgot the name for it. This reminds me of a funny story. I was commissioned to do a painting of a barn for this fellow and every time I would go over there to photograph the barn he'd come out of his house and stand on his porch and he would look at me and I'd have to run away because I didn't want him to know because it was a surprise for Christmas. So finally one day he chased me down the road and came up to me and he said I want to know why you've been taking all those photographs of my place and all I could think of to say was well I'm a writer and I'm doing a story on barns in Wisconsin and yours is so unusual that I the way you're and I meant to say silo and I couldn't think of the word silo and there I stood trying to think of the word silo anyway it was kind of funny but he never caught on he was so excited that he was going to have a picture of his barn and a story about his barn in this magazine I supposedly wrote for he was so excited about that he went home and told his daughter you know what they're going to write a story about the barn and our barn's going to be in this magazine and so I felt kind of bad because I don't know if he was as excited when he got the painting instead of the magazine article okay so now that's good enough and then we'll just take a little bit of light because there again we've got that light coming from here and we'll just put like a little highlight coming right there on it now this side as you can probably already see and you're probably sitting there thinking to yourself kitty do something with that side if it's in shadow it should be darker there we go there we go okay now then the barn itself it's worn it's quite worn and there we go now so we'll just we'll put this in as an underpainting and then we're going to do some stuff with a knife over it to kind of make it look a little more worn there and I think we'll have the barn door open to me there's something so fascinating when you drive down the road and the barn doors are open and you wonder what's in there what are they doing in there what did they do in there you know probably all the farmers are probably thinking boy are you weird lady if you only knew what we do in there it wasn't as nearly as romantic as you try to paint it oh well put a little bit of blue in there to darken that because we have to have a mystery area and that will be our mystery area and typically what happens you know with painting is that where the darkest dark means the lightest light that's where the that's where the focal area should be so that will be our focal area and we'll have a little bit of reflected light bouncing back in there there we go there we go that's not so bad now while I'm at it why don't I just take the brush here and no that's not dark enough I want to make this I want to make this little barn look really weathered like it's seen its day because it has seen in better days there we go there we go alrighty and then there's a little there again a little mystery up here in the window now you notice how I paint the barn first and then I paint the ceiling or the roof because the ceiling and the roof because that is you have to have the barn before and put the roof on see I'm always thinking about about the three-dimensional effect of the paint now I definitely need a darker shadow under here and here there and I'm working quick now because I want to get a certain amount of this done for you today so that you have a good idea of where we're going with this ok and some dark coming down here little dark coming down there ok there we go alright and then across of course across here this will be quite dark and then the dark is coming down because that's in shadow remember the light is coming from here so that's in shadow ok now we will put the roof on and as I see that roof it looks like it could be maybe kind of a metal maybe it would be a reflection of the sky again so let's just take another brush and we'll make just a little tiny line here and here ok and then we'll come down here ok now this is going to get darker so I think we better bring this cloud color down here into this so we're echoing the color that's very important to keep your painting harmonious echo color if you have the color one place put it in again some place else and we're going to have a little bush over here so I don't have to worry about how that side looks ok this looks like this needs to come down more yeah I'm going up too high I don't have my perspective correct there we go just let this come down here a little bit there we go yeah now that paint is nice and thick I love that paint just so nice and thick and juicy now this is a little lighter up here oops not that blue though let me see here what can we use we'll take this one we'll have this curve like that ok now then we have most of the middle ground done and we have the barn pretty much done in the silo and the trees and we have a couple of big bushes right here that we can do and then we have to say goodbye for now once again because this is the third segment of our show and next time we're going to be finishing up the painting so I want you to be sure and be with me next time when we will finish the painting do the foreground put on some nice details of leaf patterns and a little orange in here and there we go you see the bushes are many many many many different colors so I'm going to end this right here I'll finish it for you next time please be sure and be with me you're in the studio with Kitty Lynn Klisch and once again we only have this far to go please come back