I could tell you how I'm going to paint today, but that would ruin the surprise for both of us.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Let's open the package; let's see what the surprise is!

We have a seascape for you.

I want to show you first the original, which is the finished one, and it will be done in a two-part series.

So stage one will be acrylics and stage two will be the oil on top of the acrylics.

That's the way that painting was done.

Now the priming of the canvas, Naphthol Red and white, which gives a nice pink all over the canvas.

Then you can see that I've outlined it with Ultramarine Blue so we can make tracings of it and that it'd be easy for you to see and easy for me too.

When I start filling in things, it's nice to have little fences along the way.

I'm going to start by putting a color in the sky, and when I do that, I'll put sort of the overall color that some of these other colors will blend into.

That will happen more, that nice blend, when we get to the oils, but it will be helpful now as well, rather than say let's fill this little part in, then fill those in.

So I have a mixture of 4 Payne's Gray, 1 Thalo Blue and then white.

But notice this, I'm going to come down to the edge of this.

This is just a little darker, it has a little Raw Sienna in it, which softens it slightly.

I don't know necessarily if it darkens it, but it does soften it just a little bit.

And this is what we'll put on.

I'll take a large brush, and I dipped it into water and swishing around.

I like the bristle brush because you can force it around without a lot of paint.

The other aspect of this is that I kind of like when a little bit of the pink shows through here and there.

Notice what I'm saying earlier about, maybe I can show it a little more there.

See, I can see that blue line through there.

So that's going to be a help for me to see the clouds when I start putting them on.

A little more water, just a little more paint.

Over on this side, even though this is very dark in this corner, we put this underneath first.

Come across there, come down-- where I will not place this would be on the sun area itself, we'll leave it like that, but we'll come over here where there's going to be some more of the dark clouds.

It's so great to be here at Prairie Public doing these shows for you, and oh, I've come, I've come to love Fargo!

I loved Fargo years ago!

I lived 50 miles from here, probably about 8 blocks from here is where I started my minor league professional baseball.

Eight feet from me is a camera, and within I have a love for doing this.

But anyway, also in Fargo-- and I'll put just a little more of this up.

It's so nice to go to restaurants and people would say "Oh we watch you on television!

We enjoy your show!"

Rather than saying "Are you somebody?"

Okay, let's do this.

Let's wait on that, and well, actually I don't have to wait because I want some Ultramarine Blue, and the Ultramarine Blue that I'll put up there I'll also be using down in the water.

So that will accomplish that.

I'll change brushes, and I'll go to a fan brush.

The fan brush has a nice flexibility.

Let's take, this is Ultramarine Blue.

How dark do I want to be on that?

Just a little light, and when I say light, I can just mix it into the sky color like that.

A little too, too dark, so I'll mix a little bit more in and I'll come back across that.

Yes you can see the slight difference, can't you?

It'd be very helpful if you'd say yes, so I don't have to repeat myself.

Okay a little out here, and as I come out here, I am staying away from the edge there.

You can see over there I want to make sure we can put some sunlight on the ocean without going too much into the blue or it would turn a little greenish looking.

Saving just a little line where we'll have a top of a wave.

Let's come down the same color.

My goodness!

Ah, do we need to darken this?

This will be all right, we can always darken it with the oils.

So this will give us this-- you know when I look at this, it just amazes me.

You are a wave without an eye.

Huh!

That's one of the first.

We may put an eye in there.

We'll see.

Okay same color, Ultramarine Blue and white.

Not too concerned if there's a little pink showing through here or there, because we'll certainly take that up with the oil family.

As I come down lower, it's lighter.

So I'll take some of the same blue and white and see what this looks like.

It'd be best if I say perfect so it makes it look like I made a right decision.

Use water.

Of course, under the lights, which this is, it might dry a little faster so I have to make sure I add more water.

You might not have quite-- yours may not dry quite as quickly on the lights you use.

Or when you paint it, maybe during the day.

Okay, for now I kind of feel if I take some of the blue but let's add just a little bit of the Viridian Green and a touch of white.

Did you see that brush mixing?

I hope that doesn't offend you.

Some purists would be very upset.

Say you should never mix with your brushes, and that really, that's true.

If you want to really save your brushes, you probably should use that knife.

I'm just not taking the time to do it now!

Okay, so I have down in the lower left corner, I have the water, and I'm going to have more dark here, but I want to save just a little top to that, so I leave the pink so I can find where that goes.

All right now what should we do?

Let's stay down in the water and then we can go to the sky last.

I don't know what the reasoning would be for that.

Other than if we get the darks in here, then we have some kind of a relationship and watching the clouds that we get soft enough and just right on them.

So on the rocks I have, I have this rock which is just a little more warm.

So I'm going to take, what do you have?

I have some what are you?

You're red.

This is Naphthol Red, and let's take some black; let's try the blue.

So I'm watching as I mix this that it's almost like a dark brown.

And you can make it darker with more blue in it or less with the red.

Notice how I help myself!

"R" stands for rock!

We often will tell you to put the rocks in last after you have the foam on, but in the acrylics stage it dries fast enough so that when you put the lights on you're not going to bang against it.

Okay on this side, we start out with the dark rock, then we'll lighten a little bit as we come to the wave.

You got it.

♪ You got it, you got it, you got it.

When you got it you got it!

♪ Let's see, what do we do here?

Oh you know what?

I said I was just a few blocks from where I played baseball.

Now, I'm probably just a mile away from where I play softball with my good friend, John Harris, President of Prairie Public!

Oh what a hitter!

We've got this great game we play!

Great parks!

We go to this park and we can hit the ball over the fence with the help with the wind and the next night if when we go there if the wind's blowing the other way, we go on the other side of the fence and hit 'em.

We know what to do!

Okay, now let's take some just blue.

You are, what are you?

What are you?

Oh that's Thalo Blue.

Let's take some Thalo Blue and we put this down in this area.

It's sort of the, as I point on the canvas, on the original, this is the area that I'm looking at.

Okay so I think now we can get, put some foam on.

The foam isn't too much different than what we have up in the sky.

See, that's very close.

So that'd be great; boy that saves time!

And when you do this, I could have put that foam on right away since it was a matching color, but it's fun to watch things develop and relate to each other.

That's the charm in creating a painting.

Okay, I'll go just a little careful there.

It does touch against there.

Now see, when I have that on, then I can evaluate and say this could have been a little lighter, but we'll do that with the oils.

This is just filling this in.

As you come over to the side you stay pretty close to your line.

What you want to make sure you're doing is addressing the bottom of the wave.

The bottom of the wave see, it's a little sharp, so just soften it slightly and softening it, I'm also bringing it down a little bit so it has kind of a feeling like it's going forth.

Okay, the next part, next part of the wave is right in here and what I like to do when I come up to the edge of the foam, and we'll do it on this one when we get to oils, is to use the corner of the brush, just kind of pull it up that way.

So the fan brush does do a multitude of things.

You can scrub in large areas, you can zigzag, you can blend, and you can draw.

There was one artist who was kind of putting down the television artists.

He'd say "Oh they're just a bunch of palette, no, fan brush artists!"

And a fellow told me about that, and I thought well, that's fine, but let's see you do a painting in 24 minutes without using the fan brush.

It does so many things so well.

So what I'm really saying is that you can use whatever brushes you want, but this certainly works for the time restraints that we're under, or constraints.

One of the above.

Let's go out just slightly and put a little foam on there, but I want to be a little darker.

So I have some of that Ultramarine Blue and white just in here, and I want to make sure that I have just a little variation other than straight across.

You can see how it waves just a little bit like that, or arches a little bit.

Okay, let's put this mountain in, and then we'll go to the sky.

Okay this again what do we want there?

I'm going to take some of the two blues.

This is Thalo Blue, this is Ultramarine Blue.

So what's the difference?

The Ultramarine might soften it just slightly.

We'll establish the edge, I'll put a little water with it.

Right now It will be a little more definite because a cloud will be coming over to soften it a little bit.

[soft scraping] I'm stopping short of the rock only to give me a little chance to do careful work there.

I'm going to lighten this a little bit.

Not much, but a little bit, and then at the same time let's go right against that rock.

You can see in the finished one, that almost melts together between the cliff and that front rock.

Now there's a small rock in, not small rock, but the edge of the cliff that I've just been working on back here, comes down in front and what I took was a little of the red and blue and that.

You know what "and that" is, don't you?

And the white, red, blue, and white.

Okay, now we'll go up to the sky, and this is going to be almost just kind of free play.

I have my reddish tone over here.

Red and white and just a little-- what do we put in that?

Blue, Ultramarine Blue.

Okay let's go up here.

Oh, I love it!

Good job Buck!

And over in here, this one might be just a little darker.

So let's, just to help us, let's take a little bit-- this is Quinacridone Rose and white.

Here's the white and this is the rose.

We'll put just a little bit of this into the middle of the sky.

I need more rose.

Rose, do your stuff!

You know what I have there?

I guess you can come along.

Seems to be just a little blue there.

Slightly softens it.

I'm gong to take a little Naphthol Red, Naphthol red and white.

See, it's just a little warmer.

And it will help on this if I put a little bit just around, a little bit of silver lining.

And just soften the edge there slightly because we're dealing with clouds.

Okay, let's go to the top clouds.

On the left side, we have Ultramarine Blue and not much white, maybe just a teeny little bit.

This is oh, right in there.

Wipe the brush, kinda spread this out, and it does go to the top.

And here you can see that we're allowing a lot of the pink of the canvas to be there and up there too.

We'll see how much of that we'll make use of when we put on the oil.

Cause' this is another, the painting was done, then we decide oh hey, I'd love to do that on television and you don't have any particular notes or style or path.

You just do it as an artist.

And I don't say that's the way you should do.

Nothing wrong with having a path and a plan.

I'm bringing this down just a little bit so there's a little variation within that cliff.

Okay, now over to the right, I feel if we take kind of a combination of a little bit of the red and the blue and white.

Let's see if this red will show up just a little bit there.

Okay, we'll come over in here.

We have a cloud coming down from the corner and when I put this on, I'll start with this value, then we'll work a little blue into it and maybe, well, some of the lighter blue too.

Here's a powerful one, and this will come all the way down towards the middle of the canvas.

Blend those together a little bit right there, but I'll stop there because we have to warm it as we come to the middle near the sun.

Okay, let's take then the red, this is the Naphthol Red and white.

I want to push this on while this is still just a little bit wet.

Push into a little bit and that kind of darkens the red a little bit.

We come right over in here.

Have you noticed one thing?

We haven't put any sun on!

I'm not sure that we'll do it with the acrylics.

When will you know Buck?

I don't know!

Okay, right down there, which is right at the horizon, and we'll push this up a little bit here.

Push this up just slightly.

See, it has the red with just a little blue in it.

Notice those lines still showing.

We may cover those a little bit--and those were put on with acrylics-- Ultramarine Blue acrylic.

One time I had where I was in a class, we put sharpie pen on.

The next time I came to teach they all, not they all, but about 8 people brought them back saying "It's coming through; it's coming through!"

So I had to do a little correction.

Okay, let's take just a little bit more of this reddish tone just to kind of fill in between slightly.

A little bit up there.

Now is there anything else we should be doing?

Maybe a little dark would help.

This is our Ultramarine Blue and just a little white.

If we put just a slight little feeling of the water turning over there-- notice how you just put it on and pull it down.

I think that will work on that.

Since we've got just a little time, we'll take and put just a little bit of dripping off there and it wouldn't hurt.

Let's see where are you?

Here you are.

Small flat brush, we could take just a little bit of the red.

And all that we do now will be a start towards the finish.

Let's go a little higher with the paint that's going up on the rock, the big rock, the bigger rock!

This one!

It does two things it makes you show, or it shows that the water hit there, then it also establishes the character of the rock a little bit because you can see the crevasses and that.

Oo, I need to take dark... this is part rock there as well.

What we could do just for just a little bit of help-- I'll take some of this sky color which was also the foam color and just start a little bit of directional movement of where the foam patterns will be down there.

We'll do the same over-- I'm taking a little bit of the pink.

Pink and blue, where's the blue?

There's the blue, there's the pink.

Right in here.

Yeah, I'm glad we thought of this, glad we had time to do this.

And let's have a little bit over here there's a little bit of water showing right there, and the top of this little edge here we spoke about that.

It was pink, it stays pink we just bring it over further like that.

Gosh, I like what's happening.

I think with just a little bit of the pink in the sky will be a good way to kinda go with this.

I wish I could say the words kind of instead of "kinda."

All right, this is Naphthol Red and white.

I'm looking, just a little pink there, little up here, we do have it already there.

This establishes a little brighter.

There's a little bit inside that dark wave; I like that.

It sort of breaks it up slightly.

Just a little stronger on there with the red so it softens the cloud a little bit as it goes into the sun area.

All right we already have this.

We could put some of that red.

A little more red, a little more Naphthol Red down in the water.

Oh, it's been so great being with you today.

We're going to finish this with oils next time, and you'll enjoy it.

Okay, that is beautiful!

What's the name of it?

I don't even remember what the name of it is.

"Final moment!"

"Final moment."

We'll see you next time.

Bye-bye!

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... is made possible by...