1 00:00:15,110 --> 00:00:18,110 >> I'M PETER HUNTOON. 2 00:00:18,110 --> 00:00:19,030 I'M AN ARTIST IN LOVE WITH 3 00:00:19,030 --> 00:00:19,130 VERMONT. 4 00:00:19,130 --> 00:00:20,190 I'M ON A MISSION TO CAPTURE 5 00:00:20,190 --> 00:00:22,010 VERMONT'S BEAUTY, ONE PAINTING 6 00:00:22,010 --> 00:00:47,020 AT A TIME, AND I'D LOVE TO SHARE 7 00:00:50,020 --> 00:00:50,230 >> I'M PETER HUNTOON, AND 8 00:00:50,230 --> 00:00:51,130 WELCOME TO ANOTHER DAY IN 9 00:00:51,130 --> 00:00:51,230 VERMONT. 10 00:00:51,230 --> 00:00:54,070 TONIGHT WE ARE UP ON KILLINGTON 11 00:00:54,070 --> 00:00:56,120 MOUNTAIN AT THE KILLINGTON ART 12 00:00:56,120 --> 00:00:58,030 GARAGE, WE'RE PAINTING A FARM 13 00:00:58,030 --> 00:00:59,130 FROM PITTSFIELD. 14 00:00:59,130 --> 00:01:02,130 WE TOOK PICTURES YESTERDAY AT 15 00:01:02,130 --> 00:01:04,190 SWEET GEORGIA FARM, AND I'LL BE 16 00:01:04,190 --> 00:01:06,050 WORKING FROM TOE TOES, BECAUSE 17 00:01:06,050 --> 00:01:07,010 WE'RE NOT THERE. 18 00:01:07,010 --> 00:01:10,010 THEY HAVE IS A WONDERFUL GOAT 19 00:01:10,010 --> 00:01:12,000 FARM, SO I'M LOOKING FORWARD TO 20 00:01:12,000 --> 00:01:19,270 GETTING STARTED. 21 00:01:19,270 --> 00:01:40,040 LET'S GO. 22 00:01:43,040 --> 00:01:43,280 >> I ACTUALLY PREFER DRAWING 23 00:01:43,280 --> 00:01:44,240 WITH A BRUSH, BUT THIS WILL 24 00:01:44,240 --> 00:01:46,280 ALLOW ME TO GET RIGHT INTO IT 25 00:01:46,280 --> 00:01:49,090 AND GET HER DONE. 26 00:01:49,090 --> 00:01:51,030 I'VE BEEN STARTING WITH ORANGE 27 00:01:51,030 --> 00:02:37,140 AND VIOLET AND PINK LATELY, SO 28 00:02:40,140 --> 00:02:41,220 >> YOUR FARM IS AMAZING. 29 00:02:41,220 --> 00:02:42,210 >> THANK YOU VERY MUCH. 30 00:02:42,210 --> 00:02:44,250 APPRECIATE IT. 31 00:02:44,250 --> 00:02:46,060 >> WE GOT TREATED TO A BEAUTIFUL 32 00:02:46,060 --> 00:02:49,020 TOUR, AND OBVIOUSLY INSPIRED. 33 00:02:49,020 --> 00:02:52,240 IT WAS EITHER MAMMA AND BABY 34 00:02:52,240 --> 00:02:55,240 GOAT OR FARM -- I ULTIMATELY 35 00:02:55,240 --> 00:02:57,150 DECIDED I WANTED TO GET THE 36 00:02:57,150 --> 00:02:58,070 FARM. 37 00:02:58,070 --> 00:02:58,210 >> COOL. 38 00:02:58,210 --> 00:03:57,000 AWESOME. 39 00:04:00,020 --> 00:04:01,220 >> I SEE SOME FLOWERS, WHAT DID 40 00:04:01,220 --> 00:04:03,010 WE SEE OVER THERE THE OTHER DAY 41 00:04:03,010 --> 00:04:05,290 WHEN WE WERE TOURING? 42 00:04:05,290 --> 00:04:09,150 WE SAW A BUTTER CUP, A YELLOW 43 00:04:09,150 --> 00:04:12,150 FLOW FLOWER, AND A RED CLOVER, 44 00:04:12,150 --> 00:04:14,000 THE VERMONT STATE FLOWER. 45 00:04:14,000 --> 00:04:17,000 THE LITTLE DELICATE VIOLET. 46 00:04:17,000 --> 00:06:41,250 MAYBE I'LL PUT A FEW RED CLOVERS 47 00:06:44,250 --> 00:06:46,070 >> VERY RARELY IS A PAINTING 48 00:06:46,070 --> 00:06:47,260 ACCOMPLISHED -- OKAY, YOU PUT 49 00:06:47,260 --> 00:06:49,120 ONE BRUSH STROKE ON, THERE'S THE 50 00:06:49,120 --> 00:06:50,030 TREE, FOR EXAMPLE. 51 00:06:50,030 --> 00:06:51,110 BEGINNING ARTIST, THAT'S WHAT 52 00:06:51,110 --> 00:06:52,060 THEY WANT TO DO. 53 00:06:52,060 --> 00:06:54,090 I LIKE TO SNEAK UP ON IT, LITTLE 54 00:06:54,090 --> 00:06:56,150 BY LITTLE, PAINTING EVERYTHING 55 00:06:56,150 --> 00:07:20,050 EXCEPT THE TREE, AND ALL OF A 56 00:07:23,050 --> 00:07:24,210 >> AT THIS POINT I'VE GOT THE 57 00:07:24,210 --> 00:07:28,000 HARD PART DONE. 58 00:07:28,000 --> 00:07:31,000 THE REST WILL BE NUANCE, 59 00:07:31,000 --> 00:07:34,170 EVALUATION IN THE STUDIO, SMALL 60 00:07:34,170 --> 00:07:37,210 LITTLE CONSIDERATIONS, MAKE SURE 61 00:07:37,210 --> 00:08:17,000 NOTHING ISN'T JUMPING OUT AS 62 00:08:20,000 --> 00:08:21,160 >> THIS IS GOING TO MAKE A GREAT 63 00:08:21,160 --> 00:08:22,230 SHOT WITH THAT LITTLE PIECE OF 64 00:08:22,230 --> 00:08:24,160 ROAD IN THE DISTANCE. 65 00:08:24,160 --> 00:08:26,270 WE GOT A LITTLE PIECE OF THE SKY 66 00:08:26,270 --> 00:08:28,290 POKING THROUGH THERE. 67 00:08:28,290 --> 00:08:32,230 I CAN ALREADY SEE A GROUP OF 68 00:08:32,230 --> 00:08:35,230 SMALL BIRDS ECHOING THAT 69 00:08:35,230 --> 00:08:36,040 DIRECTION. 70 00:08:36,040 --> 00:08:44,040 WONDERFUL. 71 00:08:44,040 --> 00:08:47,040 I'M GOING TO USE A TONE TODAY 72 00:08:47,040 --> 00:08:49,150 WITH A LITTLE BIT OF WARM 73 00:08:49,150 --> 00:08:49,280 UNDERPAINTING. 74 00:08:49,280 --> 00:08:51,140 HOPE I DON'T GET RUN OVER HERE. 75 00:08:51,140 --> 00:08:54,050 TODAY WE'RE GOING TO USE OIL 76 00:08:54,050 --> 00:08:54,140 PAINT. 77 00:08:54,140 --> 00:08:56,190 THIS IS A TRADITIONAL OIL PAINT, 78 00:08:56,190 --> 00:09:00,220 IT'S NOT THE WATER SOLUBLE 79 00:09:00,220 --> 00:09:05,020 VARIETY, THOUGH I'VE USED THAT. 80 00:09:05,020 --> 00:09:16,030 SOMETIMES THE REAL VARIETY IS 81 00:09:19,030 --> 00:09:21,130 THEY ALWAYS LEAD FROM SOMEWHERE 82 00:09:21,130 --> 00:09:24,000 2 SOMEWHERE. 83 00:09:24,000 --> 00:09:27,000 I LIKE TO THINK I'M HEADING IN A 84 00:09:27,000 --> 00:09:34,050 DIRECTION HOPEFULLY THE RIGHT 85 00:09:34,050 --> 00:09:40,010 DIRECTION, AND THE THE BRIDGE 86 00:09:40,010 --> 00:09:43,010 ECHOS THAT SENTIMENT. 87 00:09:43,010 --> 00:09:45,050 JUST A BIG CHUNK. 88 00:09:45,050 --> 00:09:49,020 KIND OF LIKE IF YOU'RE CUTTING 89 00:09:49,020 --> 00:09:52,020 SOMETHING OUT OF CONSTRUCTION 90 00:09:52,020 --> 00:09:55,140 PAPER WITH A LITTLE BIT MORE 91 00:09:55,140 --> 00:09:58,140 CONCERN FOR EDGES AND COLOR. 92 00:09:58,140 --> 00:09:59,280 GOOD MORNING. 93 00:09:59,280 --> 00:10:00,130 >> BEAUTIFUL. 94 00:10:00,130 --> 00:10:00,280 >> THANK YOU. 95 00:10:00,280 --> 00:10:02,060 >> LOVELY DAY FOR A PAINTING. 96 00:10:02,060 --> 00:10:03,000 >> IT IS. 97 00:10:03,000 --> 00:10:03,250 GOOD MORNING. 98 00:10:03,250 --> 00:10:04,160 >> THAT'S NICE. 99 00:10:04,160 --> 00:10:06,220 >> COME BACK IN A COUPLE HOURS. 100 00:10:06,220 --> 00:10:07,190 >> LOOKING GOOD! 101 00:10:07,190 --> 00:10:09,030 >> SO FAR, SO GOOD. 102 00:10:09,030 --> 00:10:12,110 MY WORK IS PAINTING. 103 00:10:12,110 --> 00:10:15,110 AND IT MAY LOOK LIKE IT'S 104 00:10:15,110 --> 00:10:18,020 EFFORTLESS AND IT JUST HAPPENS 105 00:10:18,020 --> 00:10:20,120 QUITE NATURALLY, BUT IT TAKES A 106 00:10:20,120 --> 00:10:21,210 CONCERTED EFFORT TO, ESPECIALLY 107 00:10:21,210 --> 00:10:25,210 START. 108 00:10:25,210 --> 00:10:28,210 ONCE I START, NOW THE -- AS -- 109 00:10:28,210 --> 00:10:30,270 ALL THE FORCES OF NATURE 110 00:10:30,270 --> 00:10:32,100 CONSPIRE WITH YOU ONCE YOU 111 00:10:32,100 --> 00:10:33,200 START. 112 00:10:33,200 --> 00:11:30,260 BUT IT'S THAT STARTING THAT'S SO 113 00:11:33,260 --> 00:11:36,010 >> TODAY WE'RE AT SHREWSBURY 114 00:11:36,010 --> 00:11:37,140 MEETING HOUSE, AND IT DOESN'T 115 00:11:37,140 --> 00:11:40,010 GET ANY MORE VERMONT THAN THIS. 116 00:11:40,010 --> 00:11:41,190 IT'S MAPLE SYRUP WEEKEND, AND 117 00:11:41,190 --> 00:11:43,040 WE'RE HERE AT THE COMMUNITY 118 00:11:43,040 --> 00:11:43,160 BREAKFAST. 119 00:11:43,160 --> 00:11:45,060 IT'S A LITTLE BIT TOO COLD TO 120 00:11:45,060 --> 00:11:45,200 PAINT OUTSIDE. 121 00:11:45,200 --> 00:11:47,100 THIS MAY BE THE LAST INDOOR SHOT 122 00:11:47,100 --> 00:11:50,010 FOR THE SEASON, BUT I DID WANT 123 00:11:50,010 --> 00:11:55,210 TO DRESS FOR 0H THE OCCASION. 124 00:11:55,210 --> 00:11:58,210 SO THIS IS VERMONT MAPLE 125 00:11:58,210 --> 00:11:59,040 SRIACHA. 126 00:11:59,040 --> 00:12:01,130 THESE ARE MY FRIENDS' DELICIOUS 127 00:12:01,130 --> 00:12:02,190 PRODUCT I USE ON ALMOST 128 00:12:02,190 --> 00:12:03,180 EVERYTHING I EAT. 129 00:12:03,180 --> 00:12:05,000 I'M PREPARED TO PAINT TODAY. 130 00:12:05,000 --> 00:12:06,160 WE'RE GOING TO GO INSIDE AND 131 00:12:06,160 --> 00:12:08,090 PAINT THE CHURCH FROM A 132 00:12:08,090 --> 00:13:17,220 PHOTOGRAPH THAT I TOOK 133 00:13:20,220 --> 00:13:23,020 >> IT'S A MESS RIGHT NOW. 134 00:13:23,020 --> 00:13:24,140 PLEASE DON'T JUDGE IT YET. 135 00:13:24,140 --> 00:13:26,040 GIVE ME ABOUT SIX HOURS AND I'LL 136 00:13:26,040 --> 00:13:27,280 TURN IT INTO GOLD. 137 00:13:27,280 --> 00:13:29,100 >> I'M REALLY EXCITED. 138 00:13:29,100 --> 00:13:30,260 I HAVE A COUPLE OF YOUR PRINTS 139 00:13:30,260 --> 00:13:32,200 HANGING AT HOME. 140 00:13:32,200 --> 00:13:35,090 >> IT'S GOT A VIBE ALL ITS OWN. 141 00:13:35,090 --> 00:13:38,250 >> YEAH. 142 00:13:38,250 --> 00:15:16,000 YEAH. 143 00:15:19,000 --> 00:15:19,240 >> HERE'S MORE ADVICE -- DON'T 144 00:15:19,240 --> 00:15:21,230 JUDGE YOURSELF AFTER EVERY BRUSH 145 00:15:21,230 --> 00:15:22,030 STROKE. 146 00:15:22,030 --> 00:15:23,280 WE BEAT OURSELVES UP SO MUCH. 147 00:15:23,280 --> 00:15:26,050 JUST LET IT GO, AND I PROMISE, 148 00:15:26,050 --> 00:15:27,120 WHATEVER YOU THINK THAT NIGHT, 149 00:15:27,120 --> 00:15:29,210 THE NEXT MORNING YOU'RE GOING TO 150 00:15:29,210 --> 00:16:34,020 SAY, I DID THAT. 151 00:16:37,020 --> 00:16:38,250 >> TO BE TOTALLY HONEST, I HAVE 152 00:16:38,250 --> 00:16:51,030 NO IDEA WHAT WE'RE GOING TO DO 153 00:16:54,030 --> 00:16:55,150 >> I ALWAYS KNOW, NO MATTER WHAT 154 00:16:55,150 --> 00:17:01,280 WE PAINT, IT COULD BE THE BEST 155 00:17:05,170 --> 00:17:08,170 >> I'VE PAINTED THIS APPLE TREE 156 00:17:08,170 --> 00:17:09,200 FIVE OR SIX TIMES. 157 00:17:09,200 --> 00:17:11,230 SO WE'RE GOING TO PASS THAT BY 158 00:17:11,230 --> 00:17:12,020 TODAY. 159 00:17:12,020 --> 00:17:13,250 I'M LOOKING AROUND, I LIKE THE 160 00:17:13,250 --> 00:17:16,290 IDEA OF TRANSITION. 161 00:17:16,290 --> 00:17:19,290 THIS TREE IS ALMOST LOST ITS 162 00:17:19,290 --> 00:17:21,060 LEAVES, BUT NOT QUITE. 163 00:17:21,060 --> 00:17:24,060 AND I LIKE THAT IDEA. 164 00:17:24,060 --> 00:17:25,260 COMING ALONG, THERE'S A BLUE 165 00:17:25,260 --> 00:17:28,060 JAY, I THINK. 166 00:17:28,060 --> 00:17:30,090 THAT'S NICE THERE. 167 00:17:30,090 --> 00:17:33,140 THE NICE THING ABOUT THIS IS WE 168 00:17:33,140 --> 00:17:36,140 HAVE A LOT OF DIFFERENT SIZED 169 00:17:36,140 --> 00:17:38,000 TREES, QUAKING LEAVES AT THE 170 00:17:38,000 --> 00:18:17,220 TOP, THIS COULD DEFINITELY BE A 171 00:18:20,220 --> 00:18:22,210 >> MY POINT ABOUT THE CREATIVE 172 00:18:22,210 --> 00:18:25,160 PROCESS IS THAT IT IS ONE FOOT 173 00:18:25,160 --> 00:18:27,020 IN FRONT OF THE OTHER. 174 00:18:27,020 --> 00:18:29,200 PERHAPS IT'S A MYTH OR A DREAM 175 00:18:29,200 --> 00:18:32,110 THAT SUDDENLY YOU HAVE THIS 176 00:18:32,110 --> 00:18:34,030 FULLY REALIZED IDEA AND IT'S 177 00:18:34,030 --> 00:18:37,010 JUST A MATTER OF PUTTING IT 178 00:18:37,010 --> 00:18:38,190 DOWN. 179 00:18:38,190 --> 00:18:50,090 WAY MORE OFTEN IT'S A ONE STEP 180 00:18:54,060 --> 00:18:57,060 >> WHEN WE WALKED OUT THE DOOR, 181 00:18:57,060 --> 00:18:58,280 I HAVE A -- IT'S MY YARD, SO I 182 00:18:58,280 --> 00:19:00,190 KNOW WHAT'S AROUND HERE, BUT I 183 00:19:00,190 --> 00:19:02,170 DIDN'T KNOW WHAT COMPOSITION OR 184 00:19:02,170 --> 00:19:04,150 WHAT SCENE WE WOULD CHOOSE. 185 00:19:04,150 --> 00:19:07,150 AND IT'S THE SAME AS IF I GET IN 186 00:19:07,150 --> 00:19:10,150 THE TRUCK AND DRIVE AROUND THE 187 00:19:10,150 --> 00:19:10,240 STATE. 188 00:19:10,240 --> 00:19:17,100 SOMETHING CATCHES YOUR EYE, AND 189 00:19:20,100 --> 00:19:22,050 >> I KEEP LOOKING AT THAT LITTLE 190 00:19:22,050 --> 00:19:23,260 PINE TREE DOWN THERE, DECIDING 191 00:19:23,260 --> 00:19:26,040 WHETHER IT'S GOING TO MAKE THE 192 00:19:26,040 --> 00:19:56,130 PAINTING OR NOT. 193 00:19:59,130 --> 00:20:00,250 >> AN HOUR AND A HALF AGO, WE 194 00:20:00,250 --> 00:20:02,120 HAD NO IDEA WHAT WE WERE GOING 195 00:20:02,120 --> 00:20:03,060 TO PAINT TODAY. 196 00:20:03,060 --> 00:20:05,070 AND HERE WE ARE AN HOUR AND A 197 00:20:05,070 --> 00:20:08,070 HALF, TWO HOURS LATER, WELL 198 00:20:08,070 --> 00:20:31,260 UNDERWAY WITH A PAINTING THAT IS 199 00:20:34,260 --> 00:20:36,020 >> GOOD AFTERNOON, FOLKS, 200 00:20:36,020 --> 00:20:37,220 WELCOME TO ANOTHER DAY OF 201 00:20:37,220 --> 00:20:38,020 VERMONT. 202 00:20:38,020 --> 00:20:39,200 TODAY IT'S TIME FOR TRUE 203 00:20:39,200 --> 00:20:40,020 CONFESSIONS. 204 00:20:40,020 --> 00:20:41,220 I'M HERE IN THE STUDIO, AND 205 00:20:41,220 --> 00:20:43,040 HONESTLY, NOT EVERY DAY I WAKE 206 00:20:43,040 --> 00:20:44,290 UP READY TO TACKLE THE WORLD AND 207 00:20:44,290 --> 00:20:46,230 PAINT A BEAUTIFUL PAINTING. 208 00:20:46,230 --> 00:20:49,110 IT'S KIND OF A RAINY DAY, AND 209 00:20:49,110 --> 00:20:50,280 I'M KIND OF FEELING THAT MYSELF. 210 00:20:50,280 --> 00:20:53,130 AND LOOKING AROUND, WHAT CAN I 211 00:20:53,130 --> 00:20:55,200 PAINT, WHAT'S GOING TO REALLILY 212 00:20:55,200 --> 00:20:57,020 INSPIRE ME, AND I KNOW THE 213 00:20:57,020 --> 00:20:57,120 ANSWER. 214 00:20:57,120 --> 00:20:59,070 I HAVE TO FINISH MY COFFEE, GET 215 00:20:59,070 --> 00:21:01,060 IN MY TRUCK AND GO FOR A RIDE. 216 00:21:01,060 --> 00:21:03,080 THIS IS REALLY ONE OF MY 217 00:21:03,080 --> 00:21:12,140 FAVORITE THINGS TO DO, JUST GET 218 00:21:12,140 --> 00:21:15,140 IN THE CAR AND GO AIMLESSLY. 219 00:21:15,140 --> 00:21:17,050 PLYMOUTH ALWAYS GIVES ME GOOD 220 00:21:17,050 --> 00:21:17,160 PAINTINGS. 221 00:21:17,160 --> 00:21:19,120 LET'S GO DOWN HERE AND SEE WHAT 222 00:21:19,120 --> 00:21:22,120 WE FIND. 223 00:21:22,120 --> 00:21:25,120 RIGHT OR LEFT, NORTH OR SOUTH? 224 00:21:25,120 --> 00:21:26,280 WHAT DID ROBERT FROST SAY? 225 00:21:26,280 --> 00:21:28,180 I TOOK THE ROAD LESS TRAVELED, 226 00:21:28,180 --> 00:21:57,000 AND THAT MADE ALL THE 227 00:22:01,010 --> 00:22:04,010 >> THERE'S SO MUCH, YOU KNOW? 228 00:22:04,010 --> 00:22:05,260 THIS IS THE CHANNEL WHICH I'VE 229 00:22:05,260 --> 00:22:07,230 PAINT IN THE FALL, BUT IT'S A 230 00:22:07,230 --> 00:22:08,150 TOTALLY DIFFERENT SITUATION 231 00:22:08,150 --> 00:22:09,080 RIGHT NOW. 232 00:22:09,080 --> 00:22:12,080 LOOK AT THAT. 233 00:22:12,080 --> 00:22:18,140 IF IT WASN'T RAINING I'D PAINT 234 00:22:18,140 --> 00:22:21,140 RIGHT HERE. 235 00:22:21,140 --> 00:22:23,010 I LOVE THAT LIGHT THAT COMES 236 00:22:23,010 --> 00:22:24,130 DOWN AT AN ANGLE WITH THE SNOW 237 00:22:24,130 --> 00:22:26,260 ON TOP OF IT, AND IT LEADS TO 238 00:22:26,260 --> 00:22:29,070 THE WATER, AND THE LAYERS OF 239 00:22:29,070 --> 00:22:30,210 MIST GOING BACK. 240 00:22:30,210 --> 00:22:34,210 A QUICK SNAPSHOT GIVES YOU 241 00:22:34,210 --> 00:22:37,210 NOTHING BUT -- SKETCHING GIVES 242 00:22:37,210 --> 00:22:39,030 YOU AN EXPERIENCE THAT DOESN'T 243 00:22:39,030 --> 00:22:39,290 GO AWAY. 244 00:22:39,290 --> 00:22:42,290 IT'S A MEMORY THAT IS IMPRINTED, 245 00:22:42,290 --> 00:22:51,120 IT'S THE DIFFERENCE BETWEEN A 246 00:22:54,120 --> 00:22:55,280 I'VE GOT SOME POSSIBILITIES 247 00:22:55,280 --> 00:22:57,060 HERE, I'M READY TO GIVE UP FOR 248 00:22:57,060 --> 00:23:00,070 THE DAY, BUT NOW I'M ENERGIZED. 249 00:23:00,070 --> 00:23:01,170 DO WHATEVER IT TAKES TO GET YOU 250 00:23:01,170 --> 00:23:02,290 TO THE POINT WHERE YOU'RE 251 00:23:02,290 --> 00:23:04,170 EXCITED ABOUT THE POSSIBILITIES 252 00:23:04,170 --> 00:23:05,100 OF PAINTING. 253 00:23:05,100 --> 00:23:07,230 THAT'S A GOOD PLACE TO BE. 254 00:23:07,230 --> 00:23:10,010 THAT'S GOT A NICE, LIKE A LAYER 255 00:23:10,010 --> 00:23:11,020 CAKE. 256 00:23:11,020 --> 00:23:12,270 ONE, TWO, THREE VALUE THE GOING 257 00:23:12,270 --> 00:23:13,180 BACK. 258 00:23:13,180 --> 00:23:14,290 I THINK I'M GOING TO GO WITH 259 00:23:14,290 --> 00:23:16,220 THAT RIGHT THERE. 260 00:23:16,220 --> 00:23:18,120 THE QUESTION I GET A LOT, HOW 261 00:23:18,120 --> 00:23:19,240 LONG DID IT TAKE YOU TO PAINT 262 00:23:19,240 --> 00:23:20,030 THAT? 263 00:23:20,030 --> 00:23:21,100 WE'VE GOT TWO OR THREE HOURS 264 00:23:21,100 --> 00:24:11,110 INTO THIS ALREADY, AND I HAVEN'T 265 00:24:14,110 --> 00:24:18,000 >> A LITTLE TENTATIVE RIGHT NOW. 266 00:24:18,000 --> 00:24:21,140 I PUT IN SOME STROKES, BUT I'VE 267 00:24:21,140 --> 00:24:24,140 GOT TO GRADUALLY COME IN AND 268 00:24:24,140 --> 00:24:25,100 FIND IT. 269 00:24:25,100 --> 00:25:19,030 THEN I CAN START GETTING MORE 270 00:25:22,030 --> 00:25:24,270 >> YOU CAN SEE EVERYTHING IS 271 00:25:24,270 --> 00:25:27,270 STARTING TO FALL INTO PLACE. 272 00:25:27,270 --> 00:25:29,260 YEAH, JUST KEEP PUTTING PAINT ON 273 00:25:29,260 --> 00:25:32,100 UNTIL IT STARTS TO MAKE SENSE. 274 00:25:32,100 --> 00:25:34,080 AND TAKING IT OFF AS WELL, AS 275 00:25:34,080 --> 00:25:35,200 YOU CAN SEE. 276 00:25:35,200 --> 00:25:37,260 I'M NOT THINKING ABOUT TREES OR 277 00:25:37,260 --> 00:25:40,040 WATER, OR BRANCHES OR ANYTHING. 278 00:25:40,040 --> 00:25:43,040 I'M THINKING ABOUT MARKS ON 279 00:25:43,040 --> 00:25:46,150 CANVAS. 280 00:25:46,150 --> 00:25:49,150 YOU KNOW YOU'VE GRADUATED FROM 281 00:25:49,150 --> 00:25:51,170 BEGINNER PAINTER WHEN YOU ARE 282 00:25:51,170 --> 00:25:54,170 ABLE TO SLIP FROM PAINTING 283 00:25:54,170 --> 00:26:49,240 THINGS TO PAINTING SHAPES. 284 00:26:52,240 --> 00:26:54,150 >> I WAS READY TO CALL IT A DAY 285 00:26:54,150 --> 00:26:57,000 AND GO TAKE A NAP, BUT DECIDED 286 00:26:57,000 --> 00:26:59,080 TO GO OUT ANYWAY, AND I'M SO 287 00:26:59,080 --> 00:27:02,080 GLAD I DID, BECAUSE I'M TOTALLY 288 00:27:02,080 --> 00:27:03,000 ENERGIZED NOW. 289 00:27:03,000 --> 00:27:14,180 THANK YOU VERY MUCH FOR JOINING 290 00:27:14,180 --> 00:27:16,240 Captioning Performed By LNS Captioning www.LNScaptioning.com 291 00:27:16,240 --> 00:27:19,240 >> I'D LIKE TO PERSONALLY INVITE 292 00:27:19,240 --> 00:27:21,150 YOU TO JOIN ME FOR A DAY IN 293 00:27:21,150 --> 00:27:21,250 VERMONT. 294 00:27:21,250 --> 00:27:23,120 A WEEKLY EMAIL FEATURING A 295 00:27:23,120 --> 00:27:24,210 BRAND-NEW PAINTING. 296 00:27:24,210 --> 00:27:26,270 AS A WAY TO SAY THANKS, I DRAW 297 00:27:26,270 --> 00:27:28,180 TWO FREE PRINT WINNERS EACH 298 00:27:28,180 --> 00:27:46,110 MONTH. 299 00:27:49,110 --> 00:27:51,010 >> VERMONT PBS, PARTNERING WITH 300 00:27:51,010 --> 00:27:52,250 LOCAL FILMMAKERS TO BRING YOU 301 00:27:52,250 --> 00:27:56,250 STORIES MADE HERE.