The artist paints what he feels, while the viewer might wonder, what was he thinking?

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Let's make that tiger growl!

"The eye of the Tiger!"

we'll go to the oil stage, part 2 of "The Eye of the Tiger."

Let me refer quickly to our original.

You can see the completed project.

It's beautiful in all ways.

Beauty with the paint.

On a painting, you should be able to look from a distance and it has all that quality and so on, then when you come real close, which you've done in this series is, you can see the jewel-like qualities of the paint.

I think that's nice when a painting is viewed from two locations and passes the test.

Over to the right, we have the completed acrylic stage, and I can touch it because it's all dry.

This was done in one time with the acrylics.

Now we're gonna go on with the oils.

And we're going to do walnut oil on the canvas.

Then what I want to do is something I've done for the first time on this series is to use instead of the Saturday night bath, we'll use the mudpack.

The difference being when you do the bath, the Saturday night bath, you have transparent color, pure pure color, and you can see through it.

With the mudpack, you do it, it has a little white in it so it's meant to soften everything.

Both of them have a refining quality and have a unifying quality, I should say.

So here comes my mudpack color.

Turquoise Blue and white with Paynes Gray, so it's about 2 Turquoise Blue, 1 Paynes Gray and then you put white.

I have the 1-inch brush.

Now when I put this on, remember when we do the Saturday night bath, you first put it on, you think oh, oh, oh!

You're gonna have the same feeling here, but if I work it around and wipe where I want to, then it will accomplish what I need it to do.

So right off you think what, are you starting right over?

I hope some of you didn't come into the room late today and you're thinking what's he doing?

Did they put in reverse?

He's removing the paint?

It takes courage to do this!

But why not?

Because it's fun and because you learn.

You know, I wanna repeat something, and I've written it down so I get it just right.

"In sports, statistics are permanent."

See, the pitching I did in high school and thereafter, they're there forever, but in art, I have returned 20 years later and corrected a mistake.

Isn't that marvelous?

You can do that in art so where you can make a change, you kinda have a responsibility to do it if it's to make it better.

Where you can't, you let it go.

So a guy slugged a home run off me when I pitched for the Fargo-Moorhead Twins!

Was Fargo-Moorhead ever the Twins?

Absolutely.

I don't know what they are now, are they the Pheasants?

See how soft that works?

What it does, see it softens the blue a little bit, the priming of the canvas, and it makes these clouds a little easier to emphasize.

So I'll add a little dark over on this side, and the when I put the light on the clouds that were light, you'll see a great step up and of course, when you step up, you do it just in small little areas.

So a lot of what I have on there will be just a soft little haze, which is very attractive.

You notice I wiped off quite a lot on the cliff, then I'll wipe down here.

A little bit in the water, coming right down, a little bit wiping on the foam, the eye of the wave, down on the shore.

So when you use a Saturday night bath or use a mudpack, you can vary it.

You can use it generously or you can leave it so it's just the softest little covering and you achieve exactly what you want.

Here, it's something that I can work into.

So let's take, we'll begin with, I think I'll take the 1-inch brush.

This is Quinacridone Rose and Paynes Gray, and I'll touch this to see.

Oh, just right!

Just right.

This will be the shadow in the clouds.

A little bit up there.

And then I notice, and here's the other thing both with the bath or with acrylics-- this we're doing it with the mudpack-- we can soften around with the paper towel and it blends a little bit into the neighborhood.

What you're doing is your blend, it softens a little bit, so you're removing the sharpness.

Now, when I go to the upper left, I need to have this just a little more Paynes Gray, maybe a touch of blue into it, so it isn't quite as red as that.

[soft scraping] Just a little darker.

[soft scraping] Let's take also just a little wipe-wipe.

There.

I feel on the left, the right side over here, I want to just soften a little further.

I'm taking a mop brush, so I'm retaining the character.

If you use the paper towel, it may be a little harder to retain the character.

So that works there.

And now let's go with lights for the cloud lights and I'll build to the lights.

My art students always hear that term, "build to the lights."

So it's darker, then you go a little lighter, little lighter, little lighter.

That's building to the lights.

So we have some pink here.

This is Yellow Ochre and Quinacridone Rose and white.

It has just a little touch of Burnt Umber too, so it's rose, ochre, and umber and white.

This will give me my little highlights on the edge of these clouds.

I think I need to go a little lighter.

A little more whitish on that.

Yeah, that's a little better.

This one is just a little dark.

There goes that home run right off the books Dave!

No longer!

Isn't it great how you can correct things?

Oh gee, in a game, oh, how can you correct if a guy hits a home run off you?

You can't go and say hey that doesn't count, 'cause I don't want it to be a home run.

But with art, you can say, I don't want to be that dark, I want it lighter.

Gee, there's advantages.

I'm so glad I became an artist!

Correct mistakes.

Oo, that's pretty.

Okay, we'll take the same color, I'm just dipping in the same color.

Now that's the rose and the ochre and a little bit of umber and white.

Come close to that tree.

We'll push this out just a little bit, I'll soften slightly so that blue isn't quite as strong between the two.

Let's come down in here and when I say come down in here, I don't have much paint on the brush, so I'm not redipping so it stays a little less light.

Reminds me, you know, the floor director scratched her ear and I think oh my got just one minute left!

It's kinda like when you're playing baseball you're up to bat and the manager over there digging his ear oh that means to bunt, boomp!

It wasn't right.

I just had an itch in the ear.

Boy that that was so important that you hear that, right?

[chuckles] Let's let some of this come down lower, and when I come down in here, it's not putting an edge on anything like up there, those are all edges.

Down here, it's just an influence of color.

At the same time when you're putting the influence of color on, it isolates so we have a little cliff there.

We may have to put a little paint on that to go darker.

I'll take the mop brush; yeah, you're the mop brush.

"Hey, what's-your-name, get in there and pitch!"

Hey what's-your-name brush, get in there and blend!

Oh I love that, sports and art connection.

When I go around the country and do a lot of workshops, I meet a lot of wonderful people.

Most of them are wonderful.

But often I'll meet a mother, she wants to introduce me to her child and says oh he, he likes to draw a little bit, but he plays sports.

I tell 'em you can do both!

And that kind of lights the eyes up.

Okay, let's come up and start putting some light on the lighter lights.

I have a Yellow Ochre and white.

When I put this on, it's going to be overdone in the blending.

Okay, so I place it.

we'll overdo it so we kinda cover that green a little bit, then we'll come back with some character lights.

What I notice right now is, see, when I put these lights on, blended those, then this little cloud is just a little too dark, so I'll just soften it slightly with that.

All right, now let's blend it.

Okay, now watch the lighter lights.

Oo, this is so much fun!

This is like having a bases loaded opportunity to bat.

We're gonna hit a home run.

This color is like the yellow ochre and white, but it's the Transparent Yellow Iron Oxide.

Oh ho!

I got it right time.

Transparent Yellow Iron Oxide.

Here, we're putting on character strokes.

Character strokes that we can retain, because we had made it lighter with the yellow ochre and white and this just steps it up just a little bit higher.

Often, and this will be one of the times, when you put those lights on and you put the character on, you let it set just a little while.

You go on and do some of the other areas then when you come back to blend it, it's set up just a little bit, so it's easier to control it.

Okay now down below, I don't think, I don't think I can go quite that light.

Ill use the fan brush because it's a little more aggressive.

I can use less paint and make it push around where a mop brush wouldn't do that.

While we're at that distant cliff, I'm going to go a little darker with the blue.

This is Turquoise Blue and white.

I'll push up just a little bit into the Paynes Gray.

Oo, perfect!

Remember, I said during this series that a nice way to check your colors, is you know you can say all right I'll mix some up and hold against that and see how it looks.

You can do it that way, but if you have Saran Wrap on, you can actually touch it and back away and look at it a little bit.

Okay, that gives me the little cliff back there.

Now on the cliff that's right here, I'll take first, this is a flat brush.

Here's some Burnt Umber, ah, maybe a little Paynes Gray in the Burnt Umber.

And this will be just a slight glaze.

See, I've wipe that quite a bit after I put the mudpack on, I wiped a bit, so this I can glaze just a little bit.

Boy isn't that a contrast when it comes down against the cloud?

Oo!

It's beautiful!

Thank you.

You're welcome.

Surround that eye slightly so you know there's a difference between it and the rock.

Not much there.

I don't put much there.

So I'll pick up a paper towel.

This needs to push in there, then I'll just wipe a little bit.

Wiping is pulling it down.

I'm not trying to wipe to see through, I'm pulling it down, a blend slightly with that.

Then I want it to be just a little less right by the wave.

I'm going to make one little spot in that eye, so you're actually seeing part of this cloud through.

That's why you have that little eye there.

Let's go ahead, as long as we have, workin' on the cliff area, let's take, this is Viridian Green and umber.

We'll come up because this needs to be darker.

This is a tree that's on the cliff.

What I will do is, take a small brush and just spot through a little bit of the sky up there so you can see a little bit of the trunk of the tree.

Okay, here, here we go.

See how that little trunk is right there.

Get my head out of the way, you could see.

Now I'll take that same small brush and we'll just pull out a little bit of twigs on the end.

And remember, we have a little and I'll take Burnt Umber, we have a little bit of an extended branch out there.

That's not a branch, it's just another separate little growth, bush, twig.

All of the above.

I dip down really quickly because I want to strengthen the dark at the base of it and go up just slightly.

Maybe just a little, like that.

All right, let's come down on the cliff and when we come down on the cliff, let's pick up a little bit of this color that we put in the middle of the sky.

That's the ochre, and rose and what else are you?

White and a little bit of Burnt Umber.

Just softly on the cliff.

I'll spot it on and then I'll come back and work with it just a little bit.

Okay now the working with it slightly, wipe the brush, so I have very little paint on it.

You know, with athletics, oh gee.

I've watched games a lot of times on television-- when they're on PBS-- oh don't they show them there?

Anyway, I was watching the games and it shows you pictures of the crowd and you got the crowd there, they're sitting, please let me win, then they go on the other side.

Please let me win.

How in the world can you ever please everybody at the same time?

Gee, that's tough.

So in art, you hope you have a little broader audience I guess.

Isn't this neat?

I really like the way it works into that-- the glaze and the mudpack.

I think that'll be enough.

Now why don't we go ahead and blend just a little bit on the clouds that we put on, so we don't forget.

So I have them larger.

Did I use the mop brush?

I don't know, but anyway I'm using it now.

I'll just touch it, kinda the whole side is touching it to soften it.

So you wanna retain the character, the little scallops, and come down here, and do it likewise.

Then, with the most gentle touch, we can come through over it just slightly like that and you don't mind if some of the scallops are touched up just a little bit, because clouds are that way, they they kinda feather out.

Need to come closer there.

All right, now let's go down to the water and I think what I should do is that big wave first to make sure-- oh yes, We'll do the wave first, because we want the rocks to go into the wet foam, rather than trying to work the foam around wet rocks.

Too dangerous in color.

All right, what color?

Let's take, uh, I was going to ask you a question.

Here's that mudpack color, but I'm going to put a little bit of Yellow Ochre and white in it so it has just a little grayish feeling.

You can see it's softer because of the white too.

This is not the lightest light yet.

So we do what did we say, class?

We "build," we build to the lights.

We build to the lights.

It's a common mistake when I see beginning artists that they'll fear oh gee, if I use white, it'll make it lighter, more white more white!

And it's very, it's very nonvital.

It doesn't have the vitality that it would have if you build to the lights and a lot of your colors will have a combination.

You might have a little pinks in, or yellows and so on.

You know if you wanna paint a white cloth, you would use some light yellow and white, you'd use a little pink, a little pure white, the three.

So you can do that whenever you're needing something very light.

I'll blend that slightly with the mop brush.

Oo.

Mop brush you still had some clouds in you.

Let me take just a quick run with the fan brush.

we'll go just a little lighter, we'll put just a little bit of foam patterns going up into that wave.

Isn't that pretty?

And these always with the idea after you have them on, do you want to blend them?

And the answer is yes, but I'm not blending them till they're on.

It's similar to what we said up in the clouds, that you let them sit a little while, then it's a little easier to blend them.

I remember one place I painted, they wanted all the visiting artists to paint a painting, I guess they had it on poster board and just leave it as a representative of their work.

And I did a seascape.

And then I wrote each of the hired help, I wrote their names with these foam patterns.

Okay, I'm going to take a little bit, this is yellow and white, Yellow Ochre and white.

We'll come up just at the top.

You're making that just a little more emphatic.

Now I'll blend this slightly and then we'll put some lighter light on the big wave and just a little bit at the shore too.

We might have to have just a little bit of that tan color that we had up in the clouds.

That's a natural, because it's being reflected on the wet sand.

So here comes my lightest light.

What kind of brush are you?

Oh let's take this mop, I think this is the one we used to do the clouds up there.

So you're doing the same thing, only on the waves.

If you think clouds while you're doing foam, you won't make many mistakes.

I wanna put some of this on, then we'll just put a little bit of color on that rock.

You can see it's a little bit of a rush, but you get all the ingredients of rightness.

I need one just a little stronger dark right in here so we maintain that peak.

Now on the rocks, we have the umber and green.

We'll put this on, kinda surround it.

That's the real impact point where that rock meets that wave.

Then some foam coming off the rock is always helpful to give us feeling of surface and the feeling that the previous wave has been there.

This isn't the first wave of the day, Adam!

Little highlights on the rock, because the light is coming from the left, and you will hit it.

It will hit on the rock.

Oo, this has been so much fun.

We've rushed, and we did it before it got too high tide.

I think as we go away, I'll just kinda blend where we can.

The can be will be just on the big wave.

I hope you have enjoyed today, we may have to come back 20 years later and correct some of these things, but we'll be able to.

I hope that you'll be able to paint an ocean like this.

Mine is hitting into the rocks.

Oh that'll be great, won't it?

Get those foam patterns softened so it doesn't say George or Dave or Ken or Ryan or Frode or so on.

We'll just put foam patterns.

We'll see you next time!

Thank you for watching "Painting with Buck!"

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