I can show you what I saw, but I can not make you feel what I felt.

But then, you are a feeling person, or I wouldn't be in your home today.

[piano plays, bright in tone] ♪ ♪ ♪ ♪ Boy, it's so much fun to go on with a painting.

To have a good start.

A beginning, a good beginning is half done.

Isn't that great?

Let me tell you a little about what I am working from.

A sketch, a pochade, which is done with inspiration.

Either you do it from imagination, you do it from memory, or you do it on location.

It's a sketch that has so much of its own being.

Then, in our case, we're coming back and making a painting before your eyes, of it.

There's no finished painting to look around at.

I'm looking at the pochade to get my inspiration.

This is where we are to this point.

Halfway point, has all been done with acrylics.

I will take some walnut oil and come up to the canvas.

When I put this on, I'm going to do it sort of generous like, right in the middle like that.

That makes it so I can take a paper towel just push around.

I do not have to use extra medium on the canvas or with the paint by having this on originally.

The nice thing about it, the walnut oil is already formulated in the paint.

So they're compatible.

You don't run down to a grocery store and say, "I need some peanut oil, some olive oil, and some walnut oil."

I don't think I would do it that way.

Ok!

Now I want to put on what I think will help, a Saturday night bath.

As I look at the painting, the pochade, I'm thinking, I feel a little bit of warmth in it.

When I put this glaze on, this Saturday night bath, it's going to be thinly felt.

I always decide how much of it should I allow to show.

But it makes some paint that I'm working into a little bit wet and it kind of tones everything.

This is Raw Sienna with just a touch of Alizarin.

I'll do the same thing up here as I did with the walnut oil.

I'll put a little bit through the middle and I'll push it around on the edges.

It looks strange at that stage.

This is a stage where you get a lot of, "ah, Buck, are you sure you know what we're doing?"

Yes, but in this case, this is the first time I've done it.

So it is kind of a little bit of guess.

When you go and teach in a workshop you've done the painting before.

You have the finished painting in front of them.

[soft scraping] As I suggested, this gives a tonal quality and makes so you have something wet to work into.

As you put this over this area, how soft that is.

Isn't it?

Let's go ahead, clean the brush.

As I clean the brush, I'll just dip in, come on the side a little bit, wipe off on a paper towel.

So I keep my cleaner, my walnut oil, quite fresh and works throughout the painting.

Alright, now as I go to the top I'm going to take some-- where are you?

what are you?

You are...great!

That's Thalo Blue and white.

I'll come up to the top of the canvas.

As I look at that, I want to go just a little bit lighter.

So I'll add a little more white to it.

I like this, doing, this becomes a workshop on television.

Because we're doing and making the decisions right before your eyes.

As I come down to the cloud, I'm actually going to cut into it a little bit.

So that as I build the cloud back, it will have the chance to work into something that's wet.

It'll be wet paint, the little blue that's there.

Even though I'm going to go darker on the left side, I chosen to push the blue over, so I'll have a little bit more control on the dark as I put that on.

I think I'll go ahead with the dark.

Here's what I want to do for the dark.

We have Alizarin Crimson and we will put some of that in with the Thalo Blue and white.

See now, that is quite dark, but because I have the wet paint there, it'll soften into it.

This all oil paint.

We started the painting with acrylics, part one.

I'll let this come down a little lower, push around.

I just want to make sure I don't have a definite line there, so I can push it across that way too.

Let's continue with the sky.

I like the idea, and I think it's easier for you to follow, if I start at the top and come right down.

In a workshop, I might jump down to get some paint on and let it dry a little bit.

But not in where you are teaching a TV instruction.

You need to see it progress.

Alright, next color.

This Quinacridone Rose.

There will be a spelling test on this, on this one.

Quinacridone Rose, how do you spell that, Buck?

Quinacridone Rose and white, and I'll have just a little... this is Cobalt Blue and white.

Let's put those two together.

Gee, I like that.

I'll sign this!

We'll come up to the cloud area and push this on.

Let that push over also into the wet sky.

As I do this, it's kind of a bit overdo.

So that you say, there's not that much there.

But I'll have some red, that'll push back into that.

Which we'll go ahead and do now.

This is Napthol Red and white.

See, I don't have these all mixed up, so I hope that is not too hard to follow me in my doing this.

Here as I approach that previous color, that purple color, I'll push into it slightly.

It kind of tints the edge of this, so it makes it quite nice.

I'm going to put this on, then I'll come back with just a little flecks of lighter clouds.

I'll let some of this just push up just a little bit.

Just a little tails up, like that.

Do we want anything over here?

Yes.

Just a little bit over in there.

Here is something I picked up: a mop brush, oh, an artist's dream!

Blending.

This difference between amateurs and professionals is often a professional will blend more.

How simple it is to become a professional!

Let me tell you something.

Just because you sell a painting does not make you become a professional.

Otherwise, the painting I sold so my cousin when I was 6 made me a professional at 6.

Even though I didn't start painting till I was 28!

Ah, these past 10 years have been so great.

Also those other years between 28 and 10 years ago!

Up here, let's come with a little bit of white and the rose.

This will give me some kind of pink clouds in that big cloud area, right in here.

Just soft little clouds in front of the big clouds.

Those really impress me.

I want to read a statement to you.

How do you pronounce the fellow's name?

Baltasar Gracian said, "some cheat themselves by not cheating."

Listen to that again.

"Some cheat themselves by not cheating.

You say, "what does he mean."

I don't know what he meant.

But I'll tell you what I think he meant.

Some one will say, "did you do that on location?

Or did you cheat and use a camera?"

"Cheat and use a camera?"

"Cheat?"

What's cheating about using a camera?

If you are helping yourself-- or a projector, or a slide projector, an opaque projector.

Whatever helps you achieve a fine painting, use it.

You'll go around--I'm using just a little extra rose, because I want to have it just a little--look at there, right as it will meet the sun.

People will go around saying, "he didn't do it himself."

Yes, you did!

You're the one that makes the decisions.

Use whatever you need to.

Just be very careful about cheating.

You copy someone else's painting and say, "it's mine."

You shouldn't do that.

You can't do that.

The paintings I'm putting on the show, paint them!

You'd be surprised how many people send a painting to me and say, "I did this of your painting."

That's great!

This is orange, actually it's red and yellow.

Then I can kind of watch what amount of orange I have on it.

So that has a little reddish feeling.

I'm pushing this down in here.

I'm surrounding that sun area because I want to, very quickly, put on my sun.

That's no reflection on my daughters, but I want to put on my sun this time!

You have to be so careful when you praise somebody.

Like we were at the lunch table once-- I'm going to put some yellow and white in there.

I said to my son, who had mowed the lawn, I said, "Dave, you did such a good job mowing the lawn."

And my daughter said, "Daddy, that means you don't like me!"

I praised him.

Please be willing to accept praise.

Please be willing to let others have praise.

That doesn't demean you.

This is yellow and white.

I'm using a badger filbert.

It gets a little quantity on there.

Now, I'm going to come back.

I'm going to come back with almost white.

Here's the white.

Because what I'm working into is wet, then when I put the white on, it won't look hard.

See, I can soften it just a little bit in.

Oh, where's my sunglasses?

I need sunglasses.

Its bright, isn't it?

Isn't it beautiful?

Let's put a little color on the cliff.

You'll notice, let's see-- what are you?

You're Turquoise Blue.

You'll notice how little I have to do on the cliff.

I don't have to fill the whole cliff in.

I just want some of this color felt out there.

So it's being lit by the sun.

We started the acrylic stage with the idea-- I'm quickly cleaning the brush-- that we have a little edging on there.

We want to show the effect of the sun on the cliff.

So I'll have just a little bit of the rose color.

Just touch it right close there.

Just make sure that that's sharp enough.

I might have to put a little bit extra blue there.

I'll come with just a little bit of sharpness here.

It doesn't completely join around.

So a little cloud's touching over that.

Then that should work.

On the right one, I'm going to have, this is-- what are you?

You're Dioxazine Purple.

I knew it was a tough name.

Dioxazine Purple.

For the the spelling quiz, D-I-O-X-A-Z-I-N-E purple!

P-I-P-R-R, see I didn't make it as a speller!

Ok, this is Dioxazine Purple with some red.

This will be the Napthol Red.

So the red in it gives it almost a little bit kind of a brownish warm feeling.

As I go further to the right, I come with almost the dark purple.

Notice how I'm staying away from the wave area, because when I splash that up, I want it to be sort of dry.

I don't want to really hit any paint.

I can come down here, and that gives a little bit of foil against that wave, too.

So that pushes the wave forward.

Contrast-- you put contrast throughout.

This is your strongest light.

And that's your contrast.

It's near the middle of the picture.

You can have other places that have contrast, but it won't be as much of a contrast.

It won't detract from that.

In this area we can have just a small little cloud.

I'll go back to this color we had, the rose and white with just a little bit of Cobalt Blue in it.

I need to make sure this is light enough.

Maybe just a little extra white.

This is going to come just a little bit as either a little clouds there... these all help push back the distance, the mountain, and the sun.

The other thing it does, it makes it so they're not as important.

They won't have that hardness that competes with what you're trying to do.

Down in the water, let's put a little bit, this is again the Turquoise Blue with just a little white.

This will come down right in here.

I find this flows so freely.

I told you last week, this was one of the things I like doing.

Is pushing the oils over the acrylics.

Because even though it's almost the same family of colors, there is a certain richness in oils.

Yet you see some place in-between, you see some of the acrylic colors being there.

Let's go down to the lower area.

It's almost wisest, put the foam in first, before you put any rocks in.

You splash that around, then you work the rocks into it.

Otherwise if you put the rocks in and you're trying to put the foam in, you might bang into them, make it a little dirty.

A little dirty.

I will take my brush, fan brush.

I'm picking up some of the white coming over to the Cobalt Blue.

Whoops, I guess you wanted to have a little rose in there, huh?

A-hah, I think that'd be fine!

Thank you for coming along!

When I push this on, I'll use discretion, which means how much of it do I want on.

As I push it around it is really creating its own position.

You're saying, "You need me, Buck.

You need me."

As long as it is a small amount.

Over here it'll look very fleecy.

You can see the difference between what I put on and then what I've spread out.

This goes so well with the rest of the painting, because this color is related to its distant relative up in the sky.

Well I'll tell you, we look back at some of our caveman ancestors.

It's amazing.

We all have progenitors!

As I come over this way, I want to use the same thing, but much less of it.

As far as when I say "much less," I don't want to fill that in with this.

I will put a little of this on that distant wave that we had, which is just right in here.

Just using the corner of the brush.

Just a little bit of sway on it, a little bit of movement.

Now I can come to this area.

The way I'd like to do this would be to begin with, this is Viridian Green and white.

Again, it's a building to your lightest light.

This will look light, this really will.

As I come over into the right, into the shadow areas, I'll use some of it.

It becomes the highlight over there.

Whereas this on the middle, it's becoming a cushion for the lightest light to sit on.

One thing I have found to be very helpful when I paint highlights on a wave, is that if you have put something over it like I just did, then wipe it.

Now when I wipe it, it will still have the smallest, thinnest covering.

But it makes it so when you put on the next paint it goes on dry, on a dry surface, relatively speaking.

It will be more powerful than if you were to working a strong light into a wet area.

For the highlight color, I'm looking at the sun, which has kind of a yellowish-- you're looking at the whole scene.

Kind of a yellowish white, I have Cad Yellow and white.

Just a little a touch of his neighbor, Yellow Ochre.

Let's try this.

I'll place this on at the top.

I will also just slightly bend, so that you feel that there's movement.

That's the direction the wave is pulling over.

I'll blend those a little bit.

I'm blending this with this fan brush, but my final blending as we said earlier, like we did up in the sky, was with a mop brush.

I'll use that soon.

Put a little bit over in there, not much.

Let's go with this same color, yellow and white.

Ah, I'm going to change my mind.

I'm going to use green and white.

Green and white coming up to this area.

Ah!

That was a good change.

You let the pochade guide you.

At the same time you might say, "it might be a little better if I did this or that."

I need to put light here, which will be a lower light.

Let's use that mop brush.

Clean it, and I want this very dry.

I'm tapping kind of aggressively.

Here we're a little straight across, so just splash up like that.

Just a very light touch.

I keep checking to see if there is any loose hairs.

They are either from the brush or from the artist!

[clears his throat] Even this, as well as it is blend, as good as it is blend, that will help.

I have just a few minutes left.

Let's take and put on-- I'm reaching for a knife.

I'm taking yellow and white, like we have on the sun area, and we put this right in the path.

Of course, down here.

Then you're bringing everything together.

I do need to put a little work on the rocks.

Let's take some of that purple that we had on the distant mountain, the purple and the red, so I can kind of make an accent here.

This becomes a nice contrast with that big wave coming in, but it doesn't take away from that.

But it does give a very good foundation.

You can have just a little bit of wetness on the rocks.

This is Cobalt blue and white.

Just a little bit of water dripping off.

Whoops.

Oh, that's ok, but we'll need to go a little lighter.

I grabbed a little white.

I sometimes go a little fast.

I apologize if it's hard to follow.

Let's take the fan brush with a little bit of the Cobalt Blue and white.

Here's Cobalt Blue and white.

Because I want to have a little bit of splashes around down at the bottom of these rocks at the shore.

I need to go a little darker.

Darker, darker, darker... That's better.

One touching along here gives a little separation of the wave from there.

I do want to have just the smallest amount of green.

You're Sap Green?

Just slightly, down at the bottom of that sky and there the cliff go together.

You really don't see much of that cliff.

Maybe a touch of blue, just bring that down just a little bit lower.

So, I think we have done the "Sunset Sea" in the oil stage.

It's been just a marvelous time being with you!

You do it, you send those cards and letters.

We'll see how yours looks, and I'll learn from you too.

That's so important.

Thanks for watching.

Bye bye.

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