Living a block from the ocean is a great place to live!

I could drop in anytime... unannounced.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Thank you for enjoying the opportunity to see a seascape performed.

I have the finished product on the easel.

I'm going to hand this off, because today we'll do the halfway stage, then next week we finish it.

I'd like to point out one thing that I'm doing different-- this, the 19th season!

It's going to all be done in oils, so I'll do the oil stage, then next week this will already be dry, and we'll bring that up and do the finished product.

So let me tell you about the priming of the canvas.

We have 6 White, 1 Permanent Green Light, and 1 Payne's Gray.

Then I have the drawings placed on it.

What I will do now is, I want to take a big 1-inch brush and put some Walnut Oil on it.

When I do this, I'm not doing it real evenly-- just kind of push some around, then when I wipe, that will do 2 things-- it will spread it around evenly; and it will also remove some of the excess.

But it sure will help the paint to move more freely.

There we are, the Walnut Oil.

I use the Walnut Oil a bit for cleaning the brushes, and it works very well.

When you do it-- now I don't have any color on the brush, but if I'd had color on the brush, I would just dip in, pull out, and wipe it off.

So you keep the Walnut Oil very clean.

19 years of doing this!

19-- can I say 19 years of your being there?

I don't know if some of you have been there that long or not.

I was looking through some old e-mails last night, and gosh, there was some nice things said, and I thought, oh, that was 2012 12 or 1934!

No, not quite that far!

Okay, now I've mixed up the paint, but I want to tell you what the formula is.

This color is going to go on the sky and on some of the lower water, what you'd call the trough water.

Anyway, it's one Phthalo Blue 5 White.

I'll use the one-inch brush again.

This covers real well.

And as I do this, I'm very conscious of the effect of what it looks like when you let some of the underneath priming show through.

Or else why would you do any of the priming?

When I look over at this one you can see, just feel a little bit maybe.

Okay, let's go over here further, we'll even put some of this, I believe it goes in the sky as well-- yes.

I'll push some into the mountains.

And I like doing this, push a little bit into the mountains so that when I put the next color in, I have something to blend into quite nicely.

I'm going to take and just blend this a little bit which removes a quantity, but it allows so that when I put the next color in, it'll blend rather well.

Okay now, what we said about the water, we put some down here.

We'll put some down here-- this is not foam, this is the flat water.

We'll put some darks in so you can see as I point out over here how some of the waves are starting to turn up.

Not much here, this is more the trough of the wave.

Then down front we get a little bit of the, what you call the trough of the wave too.

That's the middle part before the big curve.

It's the flat part in front-- is the trough.

Now, as far as wiping this just slightly, slight bit of a wipe.

We'll stop that, and let's go to the next part This is going to be, let's see, this is the upper left part of the sky and the lower dark water.

It's 1 Payne's Gray, 1 Phthalo Blue, and 2 parts of number 2.

Let's see if I got that right.

Yeah, okay, here's the blue in the paint there, You can't tell any difference in those, they are both very dark.

Then this is some of what we just put on the sky, number 2.

I'm mixing those together.

Gee, some of this-- you get to see it mixed!

That's great, that's going to work.

So, what brush to I want here?

I'm going to take a fan brush which I use quite a lot, I dipped it in Walnut Oil only to make sure that it was awake.

You're awake and ready to go.

Okay, here comes the dark upper corner.

Ooo, I like that!

And the flutter flutter with the fan brush is so good.

This doubly helped as I suggested, where I wiped a little bit of that blue off so this truly has a nice blend with less paint.

I'll come down at the horizon and come across just a little bit.

Then kind of sweep, clean the brush and just sweep gently across.

And I want some of this to go into the cliff.

Vroom, over into the cliff.

In doing the cliff, I'm on the far right side of the cliff.

[soft scraping] A little bit down at the edge there.

Oh, this is so much fun to do.

19 years!

I've worn a different shirt every time.

And I thought that I did new paintings every time, but there was one that was a repeat.

"Jug and Oranges," I think that was in series 18.

But we did it a little bit different.

The first time we did it through grays, and this last time we did it just direct painting.

So it's different, a little bit different.

Okay, now let's come with the next color.

This is 1 Payne's Gray, 1 Alizarin and 7 White.

This is going to go on the cliff.

It's just a little bit of character in there.

When I say a little bit of character, I mean that literally.

You make it so you feel like those are the little-- I don't know what you'd call it-- lights on the cliff.

That's what you are, you're lights on the cliff.

Gee, it's so much fun to develop that.

I'm using the fan brush, and I'm using it so that it has kind of a chisel edge.

You're just touching like that.

Sometimes I'll use a fan brush full, sometimes I'll use it kind of mushed on the corner, then like this, the little chisel edge, I guess you'd call it.

I like that very much.

Now, one thing I thought of that I think I better do there is, let's take some of that upper sky color and go right down next to what will be the rock.

It's always a good idea to get just a little bit of this behind, then you feel like there's space between the rock and the cliff.

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Okay now, I have some cloud lights, and let's see what we have here.

4 White, 1 Yellow Orchre and 1 number 4-- number 4 was the one that I just used up on the cliff.

So here's my Yellow Ochre, and I'm going to take and put a little bit of this into it Did you understand that?

This is the lights I just put on the cliff, This is 5 White and 1 Yellow Ochre.

So I'm mixing this together.

I'll try to do it again just so I can give you a formula.

Yeah, it looks like half-and-half.

So that will work.

And this will give me some of my first cloud lights.

Where are you fan brush?

Oh, you're all dirty!

I can either use another one or I can clean you a little bit.

I cleaned you a little bit.

I'm going to try this too.

Somebody told me about this-- little baby wipes.

Oh, my gosh!

I'm sold!

That really cleaned it!

Whoo!

Fun to learn new things.

Be willing to learn.

Okay, so this is the cloud.

And I'll put these in, just again with the fan brush.

I'm using more of the corner of it where I flatten it, kind of mush it down.

Notice I started out aways, so that it mixed in with the blue, so by the time it comes over to the cliff, it may not be quite as light.

We want this to go behind the cliff.

And the other thing, when you're doing this, you make allowance for seeing little variation within the clouds.

What I mean by that, look right there-- see how that's a little darker, and that's because there's less paint So as I blend this down, you're going to have places that the blue will kind of show what's happening there.

I'll demonstrate that in just a minute.

Okay, I need to take one little touch and see what happens.

Right there.

Oh, thank you, thank you.

So I'm now going to come with some of the same color, but just a little more quantity.

So if I want this to look lighter, I just have a little more quantity.

And we're talking about the first stage.

When we come with highlights on what's already done over to the left, then it will really pop out.

One aspect of clouds-- I need to go a little more here first-- I like very much is that if you use just the smallest amount and have it sneak into the cliff, right here.

So I'll put this, I'm starting on the outside of the cliff, but then I sneak in a little bit, and that really helps because it kind of sets the mountain into a secondary stage.

Then you're not competing with what's going to be happening down below.

Let me tell you one other thing that I think is important.

I guess maybe I should show you this next week, but I'll state it now anyway, and that is, that I'm painting these so that I come from the top on down.

That's to help you, the viewer.

What I've often practiced and preached is, you put your center of interest in first, then work around it.

It's like somebody says do you do the eye first or second?

The answer is yes.

If you do the eye first, then you work everything keeping your interest on the eye.

If you do the eye last, you build it all up then mash in the eye.

So they are both correct.

So this, I'm doing from the top to the bottom, which is also correct, but it's to help you so you can watch the progress rather than being confused when I jump, jump, jump, jump.

I think that will be all right.

Sometimes I'll take, and this is one of them, just gently, ever so gently to get that sky a little softer.

Okay, now I want to come with some of the same dark that I used up in the sky.

Now we'll use it, and I have the fan brush.

There was a fellow that told me once that he was taking a lesson down south, I won't say where it was, and the person that told me this, a very fine artist, did some television work too, and he was saying, that this artist said something about the TV artists-- all they are are a bunch of fan brush artists!

I thought, you try to do a painting in 27 minutes and see how fast you can do it without the fan brush.

So it wasn't making fun of the guy, but there is a reason for quickness in doing the shows.

I hope you understand these, and if you get the DVD then you can do it and slow it down and stop it and do whatever you want.

Is it legal for you to record the shows?

Of course it is!

Okay.

The thing about the DVD, you have some bonus features which shows after you've done the painting, then you come back and show final little touches that you don't have time to do on the two shows.

Does that sound like a commercial?

Okay, this is dark out here.

This is the big wave that's going to be hitting-- the first one on the rocks here Notice I left a little space because that's where the foam will go.

Now, what I like very much is the little dark water that you see running inside.

There is one, and here's another one.

It gives such a nice help to that big moving wave.

And the little bend in there is what I think is exceptional, the help.

Okay now, down below we'll take and put on the dark blue.

When we say the dark blue, you know what I'm using.

Don't you?

1 Payne's Gray 1 Phthalo Blue, and 1 of the sky color, the formula.

This is such a nice part of the big wave, is when you can kind of see in there, and we'll put a little green on that in the second stage.

Okay, let's go down here.

Some of this I'm working in, and what I leave open a little bit, the blues, will be a start towards the foam patterns that we need to have.

Sometimes a signal looks like back up or is it you have 5 minutes left?

Next time back up, 4, 3...

Anyway.

Oh, this is great!

What I have not done, yes I did do it on that one is, I've painted around the sides, and that's very helpful because sometimes the paintings can almost stand without a frame.

Okay here, again we'll take just a-- I think I'll take a clean fan brush and sweep just a little bit the blue that's been placed on.

Other times, not all the times, but other times we've done this much with acrylic, and some of you have done very well with it, and you can do it, if you want to do it the first time with acrylics, fine.

I was teaching one place up in Vancouver Washington, and this gal had a little gallery.

There was one of her teachers who was an acrylic artist.

Wow, his work was good!

He did everything with acrylic.

He was a teacher too; I was never in his class or he in mine.

Stan Capon.

[chuckles] That's a little plug.

Stan, you owe me one.

All right, now let's go to the rock, and we are going to take a flat brush-- what are you?

You are called a brush, large leaf brush.

I'm taking pure Van Dyke Brown.

What I've done is dipped just a little bit into the Walnut Oil.

Okay, I'll just spread around.

Oh, you know what?

I'm going to backtrack.

I want that-- but let me put the foam on first because it'll be a little easier to put the foam on, then the rocks can kind of push into it in case you need to, otherwise you are here, and you are saying oh, I need to be careful there.

So here is what we are going to do about it.

This is-- what color are you?

1 White, 1 Blue, no-- 1 White, 1, ah, I want to call it black-- it's Payne's Gray, and 1 number 2.

Gosh, didn't mean to confuse you.

This is what we are putting on for the foam.

You can see it's a little bit different than the other blue.

I don't know if you can see down on the palette if you want to look.

This is a color that I put in the sky first, and this is what I'm doing now, so they are little bit different.

This one is a little more gray.

1 White, 1 Payne's Gray, and 1 number 2.

I think I gave it to you wrong, but that's it.

Now, after I place this on, and I can do it here, because the paint behind is a little wet.

It just softens slightly up into the sky.

That makes a nice feeling of mist.

So we have it here, and you're going to run into the dark blue you have on there just a little bit.

So you sort of soften this down.

Notice that I'm softening it down at a slant, so it shows the direction of the movement of the water.

I try to watch so that it's not just perfectly parallel across there.

So I pushed up into that just a little bit.

That's okay, then I have a real small one out here.

And I don't think-- you don't think?

I better think!

Just maybe a little bit there.

Okay, then we have the big one.

I love doing this one.

This gives such a good feeling already, and yet it's only the intermediate stage before we put the highlights on it.

So this foam will really zing when we put the highlights on.

I like the fan brush, the corner of it.

So when you're touching it, notice how you touch a little bit into the neighbor.

You can just soften it slightly There too.

In that case I put on with a little bit of the chisel edge of the brush, of the fan brush.

Got ya!

Oh, that's great.

Let's go up here.

[soft scraping] And let's see, oh yes.

What you mean "let's see?"

Let's do it.

The thing to watch, see, when I put the fan brush on, the strokes were all pretty much the same size, so you sort of need to brush here and there.

Try to have variety; variety is so important in oceans as well as in life.

Okay now, down below, I think not much, maybe just a little bit of this starting to show some foam patterns.

I'm going to take some sky color and do that.

Okay, now is the time to come for those rocks.

And what we're suggesting is on those rocks, is that, see, you don't have to worry if you touch out and hit the lights-- no problem-- it takes care of itself.

Boy, we need to rush a little bit to get this on.

Don't we?

Okay, I'll take some more down below.

This would be very difficult if I were trying to make the foam go around the rock while they were both wet.

But this way, it's all right if I happen to push into it.

And then as a finale to this we'll take a paper towel, maybe it should be clean, and we'll wipe just a little bit, just a little bit on these.

That will be such a great start for next week.

That's it!

There we are!

See you next week!

Thank you for watching!

19th year!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...