Low tide only means that you bring your own imagination and your brushes!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ We're ready.

We're going to do the second half of "Big Sur."

Big Sur is located between Santa Barbara where I live and Carmel, oh, it's a ways up there.

It's absolutely beautiful on Highway 1.

So we are going to do it now, this is all dry.

This is from the first stage; this is our completed stage.

And again, as we did the first time, I dipped into Walnut Oil, and I put some of this on.

As you noticed, and I've said before, and I'll say it each time, that does not cover evenly.

This helps it be even and kind of reduces the amount a little bit, so it's not too runny.

Great.

And as we did before, we're going to start in the sky and work our way down.

So up in the sky I have a mixture of, let's see, this is 4 Phthalo Blue and 1 White.

So the Phthalo Blue is very powerful.

And when I put this on, I'll put a little bit on, like that, then take the paper towel and kind of spread it over and around, and at the same time it removes just a little bit.

So you don't have any real sharpness to it.

We're going to have clouds that'll work into that little bit.

And while I have it on the brush, I'll come over here.

You can see there's just a little bit peeking down there.

This gives a nice help towards featuring the middle of the sky.

So you have that contrast on both sides.

Oops.

I'm going to take another paper towel and just wipe a little bit more.

That's better.

And this, as you might note, this is kind of uneven, the clouds are working to that.

This is kind of even so you get a little bit of the character of the cliffs.

So now we'll come with some sky lights, cloud lights.

Yellow Ochre, 2 Yellow Ochre to 1 White.

I'm going to change the formula.

2 White, 1 Yellow Ochre.

Let's see if, oo, I'm sorry, you have to go to the back of the bus.

We'll take another fan brush who needs to get time in to earn a letter on the football team.

Oh, that's what I want.

Thank goodness.

Okay, so I'll put this on, and I'll soften just a little bit into the cliffs on the right side.

Now your sun, you always ask where is the sun coming from?

It's coming from the upper right, and it just hits that cloud a little bit.

And we come down to the next cloud, here's the next one.

And what's so nice about this, we'll just kind of tip it a little bit and still make use of what was done before.

And as I go out to the left-- I'll come back and blend these a little bit more.

Just a little bit in here and a little bit in there.

It gives a little bit of balance to the sky.

I notice even up here, I need to go out to the left.

You can sit on the second seat now.

Boy, you came through right when I needed you.

Wipe the brush.

And I'm pushing up into that a little bit.

Some of the light needs to fade out slightly so you get the form of the clouds.

Okay, let's take a clean-- you're a clean fan brush.

Just gently blend that.

This one, I need to make sure that I'm pushing into the cliffs a little bit So they're not quite as featured.

Okay now, let's take another little color.

This is 2 Alizarin Crimson, 1/2 Phthalo Blue, 1 White.

Did you get all that?

This is going to be just a little tinting on the clouds.

I like what that does.

It warms it a little bit.

And I'm just, I'm using the corner of the brush, just touching with the corner.

I like even some of this to sort of come down and represent a little bit of the character on the edge of the cliff-- there.

And we'll come down a little bit against this rock as well.

We mentioned this last time where we want these rocks to stand out, of course, they do with contrast.

But just a small mist, and in this case, some of the small foam.

We'll allow them to do their duty.

Okay, sometimes they-- a little sweeping-- I'm sweeping across the dark; it touches against the clouds so they're not quite as sharp ending.

There as they're sharper over here.

Okay, we'll call that enough.

And what I've told you before is that we, in teaching, I think it's kind of helpful, especially on the television, that we start in the top of the painting and come on down so you can kind of follow.

I want to jump up and do the light there and jump down here, but you can't do it that way to be helpful.

Okay, now let's go with some foam color.

This is going to be, let me see, what are these?

You are 1 black, 1 Phthalo Blue, and 6 White.

This goes just a little bit on these.

I don't want it to do much Notice there, I'm kind of drawing with the corner of the brush.

Here, where I want it a little more full, I'll mush the brush just a little bit.

Does that sound correct?

Mush it?

Flatten it slightly, flatten the corners.

And as we mentioned last time, that we put the rocks in last.

So if the rocks were wet now, it's kind of hard to work around them.

So here, if I accidentally hit the rock, you're not going to dirty your foam.

It's just a little hint that I like to use.

These, notice how I have just a slight bend in that.

So you get the feeling, the way the wave is moving.

Oo, that's so pretty.

This is one of my favorite spots on doing a moving wave.

It's having a large dark, dark, and you have that long light, so it really moves.

I don't have to have a great abundance of this on because I am going to come with the highlights.

So in saying that, what I've done here, and I probably should've done there, Is just save a spot.

See, it's dry now because I have wiped it.

It's not necessarily that you can see the difference.

So same thing here now, I'm putting this in, but I'm going to save the spots where it is going to have the lighter light put on.

I like that.

Right now this looks strange because this will be the dark of the wave, and this will be the light.

You do it that way so that where you're going to put the lightest light has a place at the top of the wave-- it's catching the sun.

Come down there... oo.

Then we'll come a little bit on the... right in here.

And then we'll start doing some fancy work.

I like what I see out there, and I haven't done it, is to take a little bit, and I'm using a knife, just a little bit of that color and just right on the horizon.

Just right, just right if you bend down a little bit.

That kind of gives a stepping stone to the background.

Okay, now let's do a couple things before we put the lightest light on.

And that is taking some of, this is green-- it's 2 Yellow Ochre, 1 Phthalo Blue, 1/2 White.

This is going to be a nice color.

We'll probably lighten it a little bit.

But this is at the top of the wave, they often call it the eye of the wave-- the transparency, the see-through.

And a little bit out there too; anytime the wave comes up.

As you know, let me show you-- when a wave comes, it scoops and goes over, so it's wide at the bottom and at the top, it's narrow.

That's where you get what you call the see-through, the eye.

So that's what we have there.

Okay, now, let's see what we want to do.

We want to put-- the final thing is, I'm going to put some highlights on the wave, and yet at the same time I want to start with that So I said one thing and we are kind of doing the opposite.

We're going to have, this is 1 black, 1 Phthalo Blue and 3 White.

That's what we've been using.

Now I have a mixture which is half, no let's go with this one.

We've got that still.

1 Blue, 1 black, and 3 White What I want to do on this is sort of show the foam patterns coming up.

I hope you can see through me.

I moved just a little bit.

♪ A little bit of luck.

See, that gives all the movement of the water down below, and it suggests foam patterns.

So now, I'm going to put the highlights on there.

And this is going to be taking Yellow Ochre and White.

It's like about, oo, 1 Yellow Ochre, and about 8 White.

Here's the first place I'll put it.

I want to have a good smash in there.

And see, I have no fear of doing this because the rocks are dry.

So we're not blending in to any rocks.

You sort of put these on as little individual shapes.

It really helps so you have them, so you can almost-- before you blend them, you can almost call them separate.

So I'll put these all in, then we'll come back and blend them.

You're so conscious of form.

So when I put the highlight on there, you still have some blue underneath.

That gives you the value system, that gives you the form.

Same way here, when I come down there, notice how I still have a nice edge there.

Right in there.

Then when I come down lower, let's come down in here.

So as I do this, I'm sort of looking at these.

See, I have a small dark there.

So I'll go just right above it, like that.

It feels like a little swell when you do that.

We've got a lot of time to do this, I hope.

We're going to make this work.

And we'll come down in here.

See, this again will be a time when we put it on and let it set.

Okay, there's some on this long, little line there.

And over, its neighbor gets some.

Like that, I won't come down any further than that I'll come to the back wave, we add a little highlight on it.

Remember what I said on these, that I took and left kind of a blank spot which really is saying a kind of a dry spot for them to go on, and then we can blend them.

Okay, this is the blending, let's see, do I have-- oh, here's a great brush, the mop brush.

Umm!

[chuckles] All right, let's put this on.

Yeah this, oh, I'm glad you spoke up.

I need you, I need you.

And the further over way I go here, we'll use less paint so it stays misty.

The impact of course, is against this rock.

We haven't put that rock in yet with the second go-round, but the reason we gave was let it work so that you're not banging the rock into the wave or the wave into the rock.

Oo, that's powerful.

I love that spot, I love that spot.

Okay, let's just kind of blend these little bit.

I think on this one, I'm even going to take just a little bit of paper towel, kind of fade it out down below so your eye follows up, and that's where your interest is, up there.

Oh, I saw one thing I kind of ignored, and that was this dark that's coming up here.

I want to make sure I can see this, because this is right in the middle of that big wave.

Isn't that a nice blue color, the color we used in the sky?

That is so important when it bends into there.

So we'll push around a little bit more the lower foam, then we'll put some work on the rocks and see what happens, Now, when I'm doing this, I'm blending kind of at an angle, and actually what I'm doing, I'm touching a little bit against the light that we already have there so that it narrows it, but it just works quite well.

This one, I'm also hitting a little bit on the bottom of it.

Right at the top, narrow it slightly.

What's still left on the brush, you can come down with it.

Let's just push along here while we have it.

Okay now, I need to blend two other places before we put the strong light on the big foam and we do the rock.

That would be right in with these, blend that just a little bit.

And this one.

Okay, let's put some strong light in the middle of that.

I think I'll use the mop brush right away on that.

So this is Yellow Ochre and White, about 10 White to 1 Ochre.

See, it's really, quantity, quantity means so much when you do this to get the right light.

That's the same color, but the mop brush allows it to have the quantity on it.

Powerful, powerful.

It was so neat to used to watch Bill Alexander use that.

"Almighty brush!"

He really knew how to use it; he was a great human being.

I love that guy.

And we were kind of on a team with the Alexander Company for my first 6 years.

So that means I've been on 25 years!

25 years--6 plus 19!

[in feeble voice] Okay now we'll go to the next step!

Okay, the next step!

We'll blend this a little bit, and then let's get some-- I'm just a little high-- let's get a little work on the rocks.

On the rocks, I have, let's see, you are Yellow Ochre, and Cadmium Red Light.

4 Yellow Ochre and 1 Cadmium Red Light.

Notice the light direction is further enhanced by light on the rocks, the light direction-- there's no question the light is coming from the right, upper right.

It sounds like a boxing match-- "It's an upper right!

A smash!

And we win!"

Now, as I come lower, I'm using less, I'm even going to take just a touch of Alizarin.... Crimson and Yellow Ochre.

Oo, that gives nice variety.

So 1 Ochre and 1 Alizarin.

♪ I see you in my dreams.

♪ I see you Okay, this one...

I want to take the Van Dyke brown again just on this guy.

I'll pull this down with the finger a little bit.

Then I want a sharpness, so I put this out like that.

Now, the other thing that I want to do on those rocks is-- I'll just wipe a little bit on this one.

Just so it blends in a little bit more.

Then just a little bit lighter.

I'm going to take some Yellow Ochre and White with that light that we have on there-- just a couple, just like that, and like this.

A little there.

Oh, I see what I want to do too.

When we went out with the Van Dyke Brown, and touched against this one, now because we've put the light on the foam, we have that opportunity to make it a little more sharp-edged here.

Oo, that's great!

I'm glad somebody's watching.

Did you think somebody told me what to do?

I think somebody did!

Okay, a little bit of that Alizarin Crimson that we put out here, just a little bit on this one, not as much light on this as the one up above.

Now, kind of the last thing I want to do is take some of my foam color.

This is the first foam color that I had out there.

And I want to put some of this just sliding a little bit off the rock.

It just gives a little detail, so when you look it's a nice stepping stone from here to there to there.

What happens in here?

Oh, just a little foam would help.

Because that wave, when it splashes against the there, it spreads itself around, so let's put just a little bit down in here.

This is also the bluish tone.

So we just about have to wrap this one up.

I'll take a mop brush, hit the final corner down here... Oh, that looks so good.

So if you can use a lot of the dry brush effect, you'll be very helpful.

Okay, so I think that's going to work.

I hope you like it.

I hope you learn from it.

We'll see you next time.

Bye-bye.

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