Moving water always moves me.

Now, I hope it will move you!

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

Welcome to my show!

Your show!

Our show!

Today we're going to do a "Dreamy Waterfall," and I want to show you what inspired this.

You've heard where the plein air people go out and they'll paint quick sketches and so on.

I do this painting from memory, painting from imagination and then having seen the scene.

Of course, that goes along with memory and sometimes right on location.

Any of the above or none of the above-- it's whatever you desire to do.

Now, this is a little pochade.

Now, somebody else may pronounce it different than I have pronounced it, but I call it a pochade, which means "pocket painting."

You have a briefcase with little pockets in it.

You finish one of these, you stick it in and then you can go do another one and do several on the same trip.

This is such a neat little scene.

Basically from viewing it-- imagination, a little creativity added to it, but it has all of the ingredients that I want to produce.

I have not done it as a complete painting until today.

We're going to do it now.

On the left easel, we have the painting which has been done with acrylics to basically a halfway point and then we'll put oil on top of that.

I really like the acrylics, because I can make use of it when I put the oil on top, let some of that show through very effectively.

Over on the right, I have the line drawing on a canvas which has been primed with acrylic.

I often use this mixture, which is 6 White, 1 Permanent Green Light, and 1 Payne's Gray.

But in this case, I would say that that's probably more like 5 White.

It's just a little darker, and I like it very much.

So we'll start with acrylics, and if you come down to the palette, I have placed some acrylics out, and I'll dip my large...

I think they call that a bright.

It is a bristle brush!

It's bright.

You're bright.

You'll do the work.

Okay, so I have Viridian Green and White with just a little bit of Yellow, Cad Yellow, in it.

And I want to put this up in the sky.

In fact, I'm going to pretty much start at the top of the canvas and come down.

It might be easier for you to follow.

That isn't necessarily the way I would paint a painting.

Often I'll paint the center of interest in first and then build around it.

It's just like when somebody says, "Do you paint the eye first or last?"

You say, "Yes."

If you paint the eye first, then everything relates to that or if you paint the eye last, you build up to it and then you put in that smash.

Both work.

You decide.

[soft scraping] When I place this on, I'm a little generous on territory, meaning that when Mr. Orange comes out, he will spread on top of this just a little bit.

[soft scraping] Oh, I love that sound; I love the sound of brush hitting palette.

We've spoken about this before, but let me just mention, when you put on a sky, if you darken the corners a little bit, you get that kind of a round shape.

There's another word I'm trying to think of, ah, dome.

D-O-M-E. Dome shape.

Domie!

[laughs] Okay, so I'll put this on.

Now over at the right, you already have the foliage which will act as a kind of a dark.

So your eye, when you put the oil on and finish it, will really zero into that center area.

As I said earlier, I'm bringing the green down just a little further so that when I put the orangish tone on, it can blend in on top of that.

Same way over here, when we're going to put that little kind of violet tone in, it will have something to blend into.

This doesn't have to be, you know, real even.

This is not a wall in the home, and you want it all even.

I like some of that little breakthrough feeling.

It gives a little porous look, like a bird could fly into it.

Have you ever had a bird fly into one of your canvases, Buck?

No, not yet.

I haven't fooled any birds!

Okay this is, we'll go down.

Let's go down to the lower left cloud.

I have some Ultramarine Blue and White.

I'll mix it over here.

I don't need that much blue.

And then we'll add some the Quinacridone Rose.

Just having a name like that makes you important!

You know what?

I'm going to cheat a little bit, let your neighbor come out there.

He's purple.

Ah!

So blue, you've lost out to purple.

Let me hold this up and see what it looks like.

That looks great!

Clean the brush.

Put a little purple on there, just a little bit more.

Now let's see.

Yeah, I'll push in just a little bit.

You know, on the line drawing, it gives you kind of placement, but you certainly make use of going over the line a little bit for looseness and that.

I'll come over to about there.

Let me measure that.

From there to there is there.

From there to there is that.

Good eye!

Now we'll take this and go up.

Go up against the tree a little bit there, and as we suggested, where we have a little bit more green than we'll want, we'll just push up on it.

If the underneath priming had been just a little lighter, then we might have-- what would you have done?

I don't what I would have done.

It would've been lighter.

I was thinking we wouldn't have had to come down as far, but that's all right.

Okay, that gives me what I want there, And you're going to find in the acrylic stage, it's going to be just a little rough, but we'll come with the oil and really refine that.

Before I put on the brightness there, I want to go up to the left corner, because that needs to have just a little green too, and when I do that, it'll be just a little darker than what's in the middle.

This is still Viridian Green.

Now, the first one had Yellow with the Viridian Green.

This is just Viridian Green and White, but it's darker.

I thought you were darker; not too dark.

Yeah, that's better.

And I will at the end, after we put the trees on, we'll come back and spot a little bit of see-through sky, which is necessary.

Okay, so we have that on, now let's come into the big impact.

This will be... you are White and you're yellow and red, giving us almost an orange look.

So why don't you use orange?

Well, I think orange missed the bus.

Red and yellow work or Cadmium Orange.

Let me hold this up.

Oh, I like it!

But I'll go just a little darker with the red.

Clean the brush.

This is all water.

You can just jam it in there.

I'm using a lot of the same brush.

Boy you came along just the right time.

Okay, orange.

I did wet the brush, but that's only so when I go higher that I can sort of thin it out like this.

Oh, that's powerful!

Come over here.

You can see I have just a nice impact down there, because that's going to be the sinking sun.

I think we'll just show them just a little bit.

Let's just change one thing and that's while we're doing that orange color-- I'm adding a little extra red to it.

So contrary to what I said, let's go ahead and put this down.

I sort of like to see the results.

Then I'm more conscious of my path of light being a straight line.

Sometimes I see right there I put just little touches, a little lighter, so I show that.

Okay, now we'll come down to the trees that are at the bottom of the horizon.

We'll take, this is Umber, and you're Rose.

Rose by any other name is Quinacridone Rose.

Oops, "oops" being that it needs to have more Umber in it.

Yeah, that's better, but whatever happens there, I could have used it brighter and then come with the oil and darkened a little bit.

I'm surprised that, Umber, you're not taking over.

You're still sort of brown.

Well, there you are.

These are lower trees.

If I want it just a little darker, I'll put a touch of blue in it.

See?

Bucky knew what to do.

Let's go over in here... and right against this tree trunk we'll have that.

Okay now, right above the trees, we have the smallest amount of red right in there, right in here.

And I'm softening it just a slight bit.

The orange-- I put that on quite thick-like so this actually is still wet enough to blend slightly with it.

Um, I loves ya!

Okay I'll take some green, this is Viridian Green.

I want to just test you out, see what you look like.

Yeah, we can use you as is.

I once bought a canvas "as is."

It was such a beautiful canvas; turned it all over.

Wasn't until I got home, it had a slit in it.

I went to a yard, not a yard sale, it was a big shipping company, and they had a sale.

They would sell things that had been left there, and what was so surprising is the number of people that would bid on a box that wasn't opened!

Think they're getting something!

Well, I bid on one too.

It had a cane and a pair of socks.

I don't know what else.

I did bid on a frame, which I could see and liked.

Pretty good bargain, but never used the frame.

It was so old-fashioned!

What about on the other side?

Let's put some green over there.

You wonder if all these shows, do the camera people or the floor director, did they ever get tired?

Say "Oh, I'm tired of your talking and talking."

We've been doing this many years!

This is the 15th year with Prairie Public and did about 8, 9 with the Alexander Art Company, so Buck's been up here for a while.

Now, on the right side of this tree and the right side of this tree, we can have just a little bit of Umber with the Viridian Green, so it'll be a little darker.

You see that?

And go over on the other side up in here.

Okay, what about here?

Maybe just a little softening.

Of course, the oil can soften those edges too.

All right, I'm going to come down to the flat kind of meadow area, and I'll use Viridian Green, maybe just a touch of yellow.

Okay now down in the-- let's see...you're rocks.

Let's do the rocks next.

What color are you?

I don't know.

So we got some green.

We got some Umber, and let's try some of this orange tone into it.

Maybe a little more Umber in that.

So if I go fast, I'll say yup, that matches.

Was that fair?

Okay, here comes the general color that's on the rocks, and then we'll outline them and put some depth in them with the Umber.

This will be fun to watch it develop because it's new to you and new to me.

I had one time after I finished filming a series-- this is the same color over on this side.

My mom, when she was living, was about 50 miles from here.

So I had all this paint left over and I piled it on with a palette knife; I made a landscape.

I mean, it was thick, and I thought well, I'm going to spend a couple days with my mother before I fly home.

What am I going to do?

I'd love to take the painting home.

She says "Well, why don't you stick it in the oven?"

And later she regretted that she'd said that, because it just stunk horribly.

We didn't close it up.

Oh, it was bad!

She says, "Why you want to paint those things for?"

[sighs] Thank you, Mom.

Okay Burnt Umber.

I have Burnt Umber here.

Oh, I love doing this!

Okay, you've said that several times.

I know.

This is a little bit of the purple with the Burnt Umber.

And see, the nice aspect of this is I don't have to have any blending now.

When we put the oils on, we'll do it.

Nothing fancy except maybe having a little variety in shapes.

This was such a great scene.

It's a beautiful little stream.

And, you know, maybe the stream wasn't quite that full of force, but why not?

It's always nice to see the potential in things whether it's a painting, a landscape, or people.

It reminds me, when Claude Buck was my teacher.

Oh I loved him, and he was telling me that there was this guy that came to Santa Barbara looking for the world's greatest seascape artist, because Claude had told him the world's greatest seascape artist lives in Santa Barbara.

He was referring to me.

Well this was years ago, and Claude was trying to see the potential, and that was so nice of him.

You look for the good in others, and you'll see it.

This is kind of nice because on stage one, it is just kind of blocked in, and then we'll put the refinement on in the next stage.

Okay, I'm going to place on some dark, just a little larger brush, down in the water.

It's not much different than what we've been doing in the dark in the rocks.

So I'm using the Umber and purple.

We'll cut over into this orange a little bit right under there, kind of a shadow, and then on this side, just a little bit.

I'll wipe just slightly, and when I do that it'd probably be best if I had a little water on the paper towel, just this area so that isn't quite so sharp.

Okay now, we'll mix up foam color.

I have White, and I have some Ultramarine Blue.

Let's see what that does with just the blue and white.

And you know the minute I say that, Mr. Rose peeked his nose out the window and says "What about me?"

That will work.

Okay, so first we'll come right in here and there.

And you want a little feeling like the water's been running aways.

So I'm making kind of a stream look back there.

You're a little cautious as you come near the rocks.

It probably would have been best to have put this on first, then the rocks.

But if you're careful, you're all right.

There's a little that goes along the side... and a small amount that's coming down through!

Oops!

The "oops" was that I don't bang into that stuff.

Okay over on this side, quite a bit of foam.

You'll see when we work this up, we'll get some nice form into the water that's coming over.

This is merely laying the floor plan.

What would you say about a floor director that gives you the finger?

[chuckles] Oops, fingers.

Okay let's see.

That's pretty close.

Here and just a little bit there and a little higher there.

Okay, so we have pretty much laid in what we want.

If we got any extra time which we may have a minute left, we'll just start on taking Umber with some of this orangey tone, and it will help to have just a little bit of the trunks, trees in.

Now I'm leaning my little finger against the canvas.

It's all dry because it's acrylic.

And this is just such a nice help.

You know, sometimes I've seen artists, they rush just a little fast, or they don't put a lot of branches in.

Then I've seen some art that I absolutely love, and they have just put branch after branch, and it's beautiful.

It takes time to do a great piece of art.

Not necessarily all the time, sometimes you can do it quickly, but give it what it desires and what it deserves.

So we'll be coming back next time, and we'll be doing the oil stage.

So I really thank you for coming.

I'm sure you're going to enjoy the next stage.

Oops!

"Oops" means I want to have grace in there so it flows this way.

All right we'll see you next time.

I probably should look at you and say we'll see you next time!

Thank you for watching today!

See you soon!

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