We must go down to the sea again... because we have more work to do.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Hello.

Stage 2!

Still in acrylics.

We're going to go down to the water with a paper towel and wet it.

So instead of putting a bath on this, this is just to moisten the canvas a little bit.

The paint might go on a little more smoothly.

Under studio lights, it might dry a little more quickly, but I would like to do this at home if I were there.

Now we're going to go with acrylics, and we're going to go with color.

So it will be very close to what's there, and then we'll refine it next time with the oils.

Often we've done stage one in acrylics, put on oils and then refined the oils.

So it can be done either way.

The thing is, you paint the way it's comfortable for you, but we'll do it with quality.

We'll start by going up to the, I'm going to go to the cliff.

"Ifs," There's two, so it's "iffs."

This is Burnt Umber with White with just a little Red.

I think what I'll do is change my mind and go into the sky first, because this is quite red.

When we go over to the cliffs, we'll probably have a little more umber with it.

So we'll come up here.

Oh, gee this is exciting.

All of the sudden it's saying oh, look at that color!

The first time we did this with acrylics was basically Ultramarine Blue, Cad Yellow, and White.

So this is now starting with a little bit larger-size football team.

We got all the players this time.

[soft scraping] I like the use of acrylics so that when you put something over the top, the underneath which is dry shows through a little bit.

So I'll adhere to that thought even on acrylics over acrylics.

So I'm looking at that blue that's there and it makes where you let a little bit show through.

It has just a little difference than just a flat painting.

Come over this way, and this will bend down low to the horizon.

Boy that's a great brush.

I'm glad you came on the trip with me.

Didn't make the team bus, but you flew in special.

Okay let's put some more of that over here.

And of course, as you look at this, the original, you say well, what about all those darks?

What about all those darks?

They can be added.

We'll see whether we do it now in acrylics or if we do it with the oils.

Isn't that great?

You realize how much we're just stepping out and see what happens.

Don't be fearful of being fearful.

I work with great, not necessarily great confidence, but the feeling that I have guidance.

My teacher, Claude Buck, he's still there someplace, helping me and inspiring me.

Everything he said inspires.

So listen to great people talk and use their sayings and their philosophy in your life.

And I don't claim things on my own.

It doesn't matter.

But if it works, and if it helps others, use it.

Okay, now we'll go to the cliff, and this will be where I take some Burnt Umber.

Let's try it with Burnt Umber and White and see if that'll be enough.

If it's not, then what I like to do just to darken a little bit is maybe use some Ultramarine Blue with that.

See, you can see the difference, can't you?

Makes it just a little more grayish.

I have a flat sable brush.

Yes, I like that color.

It's not quite as warm as that one.

[soft scraping] And same way here, as we were talking about in putting on the sky is, let some of that blue be effective.

You find when you have one color all the way through like the blue and that, that as you start covering you think, oh that's good, a little will show through.

But the more you cover, then you discover places-- maybe that's a little too much blue.

But you can't judge it now because there's so much blue competing with what you're doing.

I don't know if that made sense to you.

I don't understand what I just said.

Okay let's take Umber again.

This is going to be darker than what we just used.

This is the next cliff down.

And what I particularly like about this-- I'll take a little water too-- this is the Umber and blue, and notice on the palette the difference.

This doesn't have the White in it.

So this will give us some little darkness there, and it's eventually going to be a nice contrast against the light on the cliff.

So as you look at this painting, I'm showing you the original, see the nice rhythm through there?

And it doesn't stop.

You see that contrast and you see this.

It's very moving.

Oh, I like you and again I'm repeating myself, but what I like is the making use of the under color coming through the one you're putting on currently.

That's why you paint it in a couple stages.

Sure you can paint it, you can paint the whole thing just on a blank canvas, but I like it this way.

Because I have a lot of little discoveries that I think are very helpful.

It's not the only way to paint, it's not the best way to paint.

It works for me.

Now that's good, that's very good.

I'm going to backtrack just for a second, because this is a little dark there, so I'll leave that dark, but just kind of cut down that dark edge of the cliff there.

Oh.

What are you talking about?

Oh?

I'll go ahead then.

Let's stay up in here, and first I'll put some of the same cloud color on there and then we can put some lights in it.

This goes on the edge of the cliff as well.

I think I'll put just a little bit in there and then when I put the highlight on, it'll have some of that kind of reddish tone in with it.

Let's see, we're still going with the darks.

So I'll go down to the rocks, and I have-- this is my same Umber and Blue that we put up on here.

Oh, that's neat.

This brush, it might have had just a little red in it, and I like that.

I like the little incidental things that happen.

And if you flow with your painting, and let the brush guide you and not you force everything in there, this is what's going to happen.

There's so much guidance that comes and just prompts you to do this or that-- I love that aspect.

The goddess of art is a good person to follow.

Now here, I'm going to back up just a little bit and maybe just wipe off a little bit where the lightest light was.

And you know, when you do that, look at the difference between this and that one.

So what I'm deciding to do, I'll say I like this.

So I'll come over here-- oo, you're supposed to be the same thing.

Put this on and then wipe it, because I get that effect of that little grayish surface showing.

But it has a little stain when you've done it that way.

Okay let's come down to the water, and I'm looking at kind of that Red and Blue.

Let's see if that works.

Well it might be best if I add a little Green into that too.

So what I have is Umber and Blue and Green!

Viridian Green.

Wet the brush.

Come on up!

Oo, this is pretty!

Oh, this is going to be so much to do in oil, in the refined finish stage, because we have such a good stage at this point.

[soft scraping] This comes down quite a ways, that dark does.

And what I'm doing as I put on this dark, notice I leave just a little bit of the gray, the blue-gray, so it represents the foam patterns slightly.

You already have some light that's going up.

But like this, see if I just cut that in, then you feel like that's a foam pattern.

Next one.

Boy, I love the drama of it, the purity of it!

And if it turns out better than that one, so be it!

That's the way to look at it.

It's not saying if I don't make it as good as that one.

It's going to be as good as that!

They're each their own person!

I so found that out raising 5 children, 20 grandchildren!

You're my favorite grandchild!

You say that to each of the 20.

Sure, Grandpa, sure.

Okay now let's put a little bit of this on what we're calling the dump; so right in here.

Oo, let's lighten that a little bit.

So this is-- what are you?

You're Viridian Green and Cad Yellow and a little White.

I like that color.

Regardless what we have there at the finish, this will be a nice base for it.

And there's a little bit of that over in this wave.

And I'm going to take just the smallest amount of that and push around at the bottom here, so when we put on the highlight it will have something to blend into.

[soft scraping] Now this would be a good time to take a little just wetness on a paper towel because the yellow is dry.

So just thin that out a little bit, kind of roll it around.

Don't take off too much.

I think I put in Zorro there.

Zorro has been there!

Okay, now let's go back to the sun, the sky rather.

And we'll take and first put in the sun area.

This is yellow, Cad Yellow, and this is White, and what you'll find happening is, this is maybe not quite as bright as that, so you have a building process.

Then I'll feather it down.

And just put little incidental lower clouds around.

And then I have a need for just a smallest little red and white just on the edge of this, of the edge of the sun where it's burning into the cloud.

Looks very pretty.

Okay what I still need to do then, I need to put on lights on the cliff and a little more character into the clouds, and we'll see how our time goes, but that looks pretty good.

Okay so we'll go up to the cliffs and on that, I have Yellow Ochre and White and Red.

Look at how that dries already.

Oo, fast drying.

Now there are ways of slowing down acrylic drying.

They have mediums that will slow it a little bit, but I choose not to do that.

And as I said I think in the last show, I was teaching at a place in Vancouver, Washington.

This is the Yellow Ochre, Red, and White and a small flat brush.

And they have other artists that come in and teach, and one was an acrylic artist, and oh gosh, he was good.

I didn't see him paint, I met him and I saw his work that was on display.

So it's not a case of one medium being better than the other.

It's whatever you enjoy doing.

Let's see, this may be a little light out there.

So let's put just a little bit of the Red and Umber in it.

Yeah, that way it isn't quite as bright as the impact on the cliff.

I think that will work.

Okay, now do I need to do any more of this?

I think that'll work, now I'll take a little bit of the color which is again the Umber and the Red that I put out there.

Just a slight little feeling of there's some character in the cliffs going up higher.

But you can see even in this stage, you have some of the green showing through.

You have some of the blue showing through.

They all play their parts.

I'm going to go just a little lighter in the cliff.

This is Yellow Ochre and White with just a small amount of Red with it.

So this will give me impact time.

Oh, I love that!

Then there isn't any question that's where I want some interest to be.

I'll go down a little lower, not quite as light, and we have a little bit of a notch right there.

So that little dark just sort of sits by itself and a little bit out there.

Okay, now let's take a color, and I think it will be the same thing as this to put some of the clouds in.

The nice thing that I find when I do acrylics or an underpainting-- you can be a little more rough here, knowing that the glazing will kind of bring things together more.

I hope that makes sense.

So don't be overly concerned if this isn't quite exactly the same as what you see in the original.

So this is Umber and Red and White.

Yeah, that's what I'm referring to.

I might go just a little bit lighter-- a little more White in it.

That'd be much better.

Okay, what about down here?

There's one that comes in here, and this really softens that edge of the cloud.

Then go up above it about here.

[soft scraping] We'll go over on the edge here.

Now this see, this is not good, so we have to soften that.

There eventually will be some little yellow and whites coming down because that is right in the path of the sun.

Okay, taking more of the cloud, we'll go over on this area.

What's very helpful is to study the ocean firsthand.

You have such an advantage these days.

I mean you can look at the ocean on YouTube, Facebook, so on.

There's so many things and there's so many commercials that show the ocean and so on, while they're advertising their soap, and you really gain a lot from that, or you can take the bathtub and swish some soap in it, watch it move.

We're fortunate we live a whole block from the ocean, so I can study it quite often.

And you know, sometimes the waves are small.

Just bend down-- they look bigger if you bend down!

Or just use your imagination and say oh, that wave, if only it was just a little higher.

Make it higher!

You can do that!

It's helpful to know your subject.

I find there's people, you know, if you're all of the sudden going to paint a horse, you got a lot of people out there that know the anatomy of a horse and what it can do and can't do.

So you have to be a little cautious, but don't let it stop you.

Oh, I remember once, I went down, I asked permission from this one person if I could go down and paint their horse very early in my career.

So I'm down there painting this horse and this gal pulls up and she says, "What are you doing?"

"Well, I'm painting the horses.

I asked permission."

"That's a prize winning horse.

You made it look like a nag!"

And I said, "Yeah, but I'm trying to learn how to do it."

And that's my thought-- don't shut yourself, don't block yourself off from any subject you want to do.

I know when I see sports paintings, and we're going to have some sports paintings on this show, you see various art that the thing looks just a little out of proportion or it couldn't quite work that way.

So what.

Enjoy.

Oo, that's pretty!

I love that!

Okay, let's do this.

Let's make the sun just a little stronger and the sun area.

So I have White and Yellow.

And I'm mixing it with a brush.

I'll come right up here... and then I'll give you a few rays.

Oh, I like doing that very much.

We'll lose them a little bit when we put the oil on, but we'll bring them back.

Initially we'll lose them a little bit.

And then if we let some of this go the other way... And I'll go just a little here.

See, that's too sharp.

I could correct it when I do the oil, but let's just get it a little bit softer right now.

And the little bit over here, and then let's kind of look.

Oh, let's go a little lighter in the eye of the wave.

The thing that I don't have here and I need to watch a little bit, I'll just blend this, and I'll do what I'm thinking.

And that is this, if you look at this, see how that splashes up?

Look what happens to mine-- it just comes over straight across-- can't do that.

So I have to splash that up just a little bit there.

Splash up a little bit there.

And let's see if there is any-- oh yes.

The trough area.

I do have some light there already, but I'll go just a little stronger... and a little bit down here.

Now this one has an additional help.

Right in there, see that little line?

So it breaks up so it's not just parallel.

This comes a little bit this way, a little bit this way.

I'll take just a little bit of the red from the mountain, a little Yellow Ochre in it.

Just to get a little bit of warmth in those 2 places.

Oh, it's such a temptation just to run with the finger brush.

and a little bit on this one.

See, the water is very thin there as it is here, and that's quite a help.

Okay, we're just about wrapping this one up.

You can see we'll have to get rid of that hardness, and we'll do that with oil.

But this has a nice beginning.

It's got a lot of vitality, and then next time we'll put addition quality into the vitality.

So we'll see you, we'll see you soon!

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...