When you're outside painting near a stream and you're thirsty-- some advice-- drink the water upstream from the herd.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Welcome to stage 2 of "Dreamy Waterfall."

We're going to do the oil stage today.

We completed the acrylic stage before, last week, and now the energy of oils!

So let me show you first the pochade.

This is the model that we're working from.

This was done partly from visiting the location and then coming back and painting from memory, and then you enhance a little bit here and there-- some of these reds and that.

Did I see them?

I don't know, but they're there, because they need to be there.

Let's come over to the canvas; I want to point out one thing.

I could have done it on the small pochade, but there's what you call the symmetry, the design.

Watch this.

So you have the lyre shape.

L-Y-R-E and Turner was one who used that a lot.

The bulk on this side, then the sort of distance on this side.

We're going to start this by putting on walnut oil over the whole canvas and then we'll do a-- what is it called?

Saturday night bath?

Absolutely.

We'll use Alizarin Crimson.

I'll start first with just the walnut oil, and as I've said before when we apply this is that you-- oh my goodness!

I think some Alizarin jumped the gun, didn't you?

You're already out there.

Well, that's good!

We'll be using you.

So I push this around with a paper towel, which is not to erase anything.

It's just to thin out the walnut oil on the canvas, and then the Alizarin Crimson-- oh you did jump the gun, but that's all right.

Alizarin Crimson, and I'll do somewhat the same as with the walnut oil.

I'll put some on and then spread it around with the paper towel.

The interesting aspect right away is how it looks when it goes over like the sun area right in there, but we'll push this around and we will certainly work into it.

Now how heavy do you put this on?

How heavily?

It's sort of up to you, but I like to have on different paintings it's going to be a different amount, and then on the wiping, I'll wipe quite a bit up there.

You can still see just a little bit of the influence of the Alizarin Crimson.

You don't see it much here because it's dark.

Down here I really like that so I'm going to save a little bit more power there.

Doesn't that look nice?

I love that.

Then over in here we come across the rocks.

It works real well across them.

In the water, we'll do kind of the same thing.

That has a relationship with the sky, so we need to be sure that the reflection is somewhat like that.

The only difference will be what?

This will be a little bit broader and a little bit lighter, but we'll certainly have an impact down below too.

I'll wipe just a little harder where the sun itself will go so that it's dry.

When you do the wiping, you're not always going to have it real evenly spread after you do the wiping.

We'll wipe a lot here.

I'm choosing to wipe a little bit more horizontally, because that's the way the water is back there and then when it comes over the waterfall.

It's a small waterfall.

There's all types in the world.

Okay let's go up to the sky, and going with the sky, we'll start with White, and I'll use some Viridian Green and we'll see if we have to, yeah, looks like we might add just a little bit of yellow into that.

What I like to do with the pochade right there is hold this up and see what it looks like.

See that's pretty good value, but I'll add a little yellow to it, Cad Yellow.

Oo, that's strong Cad Yellow.

♪ De de de de de Ya did it, Buck!

And you at home will say I didn't say you did it.

It looks like a little more yellow to me-- that's all right.

Large bristle brush... ...and when this works in-- you're not using a lot of the Alizarin at the time until you come down near the sun area.

Now as I go over to the left, I'm going to just soften a little bit.

Come down here a little bit, because when we put the distant trees in, we want something to soften into.

Now on the upper left, we'll go just a little bit of-- you're Turquoise Blue and a little bit of our light color.

Great.

The other thing, this doesn't have to change it much, but it does the same effect where the tree is going to bump against it, and it will soften the edge of the tree when we put the tree branches on.

Do we have anything over here?

We don't yet.

What happened up here?

What'd you do?

It looks like a fingerprint.

Okay, let's stay in the sky.

I want to mix up now some color of the clouds or-- those are distant trees and clouds?

I don't know what you are; you sure look like trees to me.

That's pretty high, so I'd say they're clouds.

Okay, here's some purple, Dioxazine Purple, and White, and let's see.

What else should we add into that?

You are Umber.

Mmm.

"Mmm" meaning I think it will work.

Yes, we'll make that work.

It's just a little softer, which I like, and then when I come down to the bottom of it I'll make it a little darker, and we'll push up into that.

So making it darker is a little more of the Dioxazine Purple and the Umber.

You know, it's interesting how you get different players on the team.

It used to always be fan brush, but this brush is so good for scrubbing in.

Can't quite call it dry brush, because I put the walnut oil on there, but it's a little bit dry.

Okay, and we always have the chance to come back and do something else.

I believe what I'll do next is take some big coverage.

You're Olive Green, and this is straight Olive Green.

I'm going to add something to you.

What do I want to add to you?

I will take Permanent Green Light.

Permanent Green Light and Olive Green.

Yeah I like that better.

The Olive Green was looking a little bit brown.

Come down, and then I'll take this same brush-- and just watch the edges-- remember what we spoke about that the edges are touching into the wet sky, and by so doing, you can soften these edges.

Now there are other little subtle colors that will be in there, but for the time being, this will give us our effect.

And I will likewise-- oops!

Where's the "oops?"

Well, I was covering up the corner there, but I see in the pochade there's a little sky showing through there.

We'll leave it for the moment.

Okay, Olive Green and Permanent Green Light over on the big tree.

Now when I do this, I'm just sort of watching to save the branches, the trunk of the tree just a little bit more than I did on the other side... ...and down here.

Okay as I come out to the edges, the left edge of this big tree, rather than putting this on and softening it, when I look at the pochade, I see kind of a blue look to it.

So I have, this is-- you are Turquoise Blue.

So Turquoise Blue and a little White, and this-- oh yes, you're working!

Come over here.

You can see I have just a nice impact down there, Very, very nice.

I'm tempted to run over here, so I do it.

Put a little on there too.

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

Let's just change one thing and that's while we're This same blue that I've just been putting on there, I'll come over into here and put just a little on the interior.

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

I sort of like to see the results.

Okay let's go to the sun area.

I'd almost like to save that for final smashes, but we won't.

Knife.

I'll take Orange and White and then eventually we'll use a little Yellow and White.

So this looks like about what I want, about 2 White and 1 Cadmium Orange, and I'll put this on with the knife, oops, the minute I did that I realized-- let's go back 1-and-1, 1-and-1.

Rose by any other name is Quinacridone Rose.

And if you just kind of let the knife kind of pat and flit around, it gives some broken little colors that are very nice up in this area.

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

Yeah, that's better, but whatever happens there, Now we'll eventually go even a little bit lighter than that.

Okay, we'll come on down so we get things covered and then we'll see what happens.

I want to take some Cad Yellow, and let's see.

What are you?

You're the tree mix.

We'll just add some yellow to that and come across, because we want to have a distant meadow.

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

See?

Right there.

There's a little bit of a slant on the edges, so this will slant up just a little bit.

and right against this tree trunk we'll have that.

Okay, now let's keep coming down.

I want to put on some smash.

Oo, I'm cleaning the brush for the first time.

Dip it walnut oil, wipe this off, and we'll take some blue.

This is the Turquoise Blue and I'll add just a little Umber to it and a little White.

is still wet enough to blend slightly with it.

So this will be the water below.

Um, I loves ya!

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

It's pretty dark on that side.

The right side might get just a little bit.

We may not save that, we'll see.

Then in the middle of that, we'll put our sun area again.

Now let's see, if we take the orange, that's-- I don't think that will quite be the way to start.

So I'll take a little bit of this red.

You're not red, you're Quinacridone Rose, and you're Orange.

They would sell things that had been left there, and what was so surprising is the number of people We'll put that on just to wet the area so when we come with a reflection in there on the knife, it has something to blend into.

Well, I bid on one too.

It had a cane and a pair of socks.

Okay, now I'm going to come, you can see if I put the brush like this, the handle, and come straight down-- that's how I arrive at my straight path.

So we'll take and use the knife down there as well, Orange and White, which was put up there, now we're putting it down here.

And I'll blend that a little bit.

Fan brush, where you been?

Okay, fan brush.

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."

That water is moving just a little bit.

We'll mix some color for our foam, and then we'll put some down here and some there and some up there.

So I have for the foam, this is my Turquoise Blue and White, And let's see, what else should we put in that?

A little bit of purple?

What will you do?

You do fine.

And go over on the other side up in here.

Take my fan brush, clean it a little bit.

Then come up with it.

All of this is very dry brush, but we have put the walnut oil on to start with so it flows a little nicely.

This is putting on a color that will eventually have some highlights into it, onto it.

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.

Now, what I chose to do there is, I left a little blank spot so that's where my highlight will be.

Then we have a little water dripping down through the rocks and along side the rocks.

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

Let's do the rocks next.

What color are you?

And there's quite a bit on the other side, because I guess the water was coming and going out to the right.

So we got some green.

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

And just a little bit on the edge of that orangy tone as it goes over into the water color.

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, Very good.

Okay I would like to take a mop brush and just gently soften some of the work that I've already done.

This will be fun to watch it develop You want to feature the diva!

because it's new to you and new to me.

There was a term in opera that confused me.

They'd say somebody was a supernumerary, and I thought "Oh gosh!

They are Superman!

They're the best!"

But a supernumerary is one that kind of is off stage, not off stage, but singing in a choir or group or so on.

They're not the diva or the maestro.

When I push this around the blending of this, I pick up just a little orange which I carried over there.

I'll soften a little bit of this, but I don't want to change it much as far as a big impact.

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?"

Likewise down in the water, we'll just soften that reflection a little bit.

Okay, now let's come back to the trees for just a minute.

I'll take a little bit of this blue and white, and I'll come up, and it gives kind of a little bit of a spot through so you feel like there's a little sky showing through the trees.

I have Burnt Umber here.

And up in there.

Okay, on the other side, not much... but it would help to have a little bit.

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

And see, the nice aspect of this is Oh, it just brings back pleasant memories of having seen the scene!

Okay now, before I leave the sky or the upper area, I want to put a little light on the tree trunk.

What are you?

You're Alizarin and Orange and White.

Nothing fancy except maybe having a little variety in shapes.

We'll just sparkle a little bit here where the light would hit.

And that's always a nice feeling, because you get a kind of a journey from the strength of the light on down to the foreground.

So that's why we pick it up along the way, and you can always say, "Well that's what Buck said!"

On this side, I wiped away a little bit of the paint so that I have just a little bit thinner lines left.

Now I notice on the bottom of that tree, it has some nice red.

So here's my Rose.

I don't know why, but I love it.

I know why I love it, but I don't know why it was there.

Okay, this is Orange with a little of the Rose color.

Now, I don't see this in the painting on the pochade, but you just need to have-- and I'll go a little darker than that-- you need to have a little burn from the sun.

This is kind of nice because on stage one, So I tap them so they're not too individualistic looking, but they do have an effect of that sun.

Now let's take-- okay I see a little need for-- this is Alizarin and Olive Green.- Just a little need to sort of darken some of these, push it up just a little bit so you get a little character at the top of them, and I'll have more down towards there.

See how that gives such a nice foil against the sky.

kind of a shadow, and then on this side, just a little bit.

Okay taking the knife.

This is Cad Yellow, just a little bit of Olive Green.

Let's see what this will do.

This is meant to go just a little bit lighter.

Oo, you are a little bit lighter!

But it also acts as a weigh station.

You got this light, this light, and then we come down to the big lights.

So I'm taking some White and Yellow.

I think I'll squeeze out a little more White.

peeked his nose out the window and says "What about me?"

Oh, it's fun to squeeze a new tube!

So this is Yellow and White, will be Yellow and White.

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

And we put this on as the waterfall, and you can see as I do this, and I'm adding a little blue in it as I come down.

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

This one's a little too strong, so I'll just slice it slightly.

to have put this on first, then the rocks.

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

Then when it hits splashes up just a little bit, and that further shows you the direction that the water's moving.

and a small amount that's coming down through!

Oops!

And we'll take some of this just a little bit on this side and particularly through the rocks, coming through the rocks right there a little drip.

That's always a nice addition in a waterfall when you got a secondary one, but it's very small.

Just a little more light right in here... you're a little high.

Okay let's go just a little lighter in the middle of the reflection in the stream.

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

[chuckles] And we'll go a little lighter in the sun area.

That's pretty close.

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

And finally, we need to put some work on the rocks.

They're not going to take much.

We'll take this Orange and Alizarin and I'll use the knife.

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, I think I'll go just a little darker, so I'm taking some of the purple from the sky.

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.

You go further to the left, I have a little bit of the Olive Green and Yellow.

And this is just such a nice help.

Blend those just a little bit.

You know, sometimes I've seen artists, they rush That's very helpful-- when you do the acrylic stage, you do as much as you can so you don't have to change it much with the oil stage.

just put branch after branch, and it's beautiful.

It takes time to do a great piece of art.

So I look forward to you doing the "Dreamy Waterfall" and sending me your cards and letters showing what they are.

Here's a little blue.

I just see it around a few places.

You're a little much; take you down.

So thank you for watching.

I hope that you will be brave enough to paint your memories when you go out and see something you like, and, of course, you can take a photograph, you can take several photographs, and you can kind of join them together and make something that appeals to you.

Thank you for watching!

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