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

[laughs] Good to have you with me!

We are going to do oil painting today!

As you look at the easel, you'll see the finished product.

This has been done with acrylics and oil.

This one has been done just with acrylics, so we're ready to go ahead and put the oils on it.

Let me point out something.

Look at my hands they're pretty clean aren't they?

Well, I wash them between each, right after the show.

When I'm painting at home, when I'm teaching, I wear some gloves, because even though the paint will say nontoxic, you just need to be careful.

So realize that on the show no gloves, in the studio gloves.

You do what you want, but that's my advice.

Okay I'm going to put on Walnut Oil in preparation for a Saturday night bath.

And this Walnut Oil as we put it on, you can see it's not real even so we'll just wipe a little bit to spread it around and at the same time you're kind of controlling the quantity which is not real generous.

But this is the way I would paint in my studio.

I would start painting with acrylics.

Then when it's dry, thoroughly dry, then I'll go ahead and use some Walnut Oil as a sometimes Saturday night bath, sometimes with a little white in it, so we call it a mudpack.

This one a Saturday night bath and I will choose Ultramarine blue.

I had no idea I was going to do this until 10 minutes ago as far as what goes over it.

You could use Alizarin Crimson, you could use Viridian Green.

I'm choosing to use the blue.

I almost swallowed the words.

Now, when I place this on, right away you say oh gee, that's too dark.

It is until I blend it around and wipe and add a little bit.

So this kind of gives you the impression of how you put on the oil.

It doesn't cover everything.

So the Saturday night bath doesn't cover everything, but as you push it around with a paper towel, you have its influence everywhere and the thing about the Saturday night bath is that when you work into it, then you can achieve this softness, and it kind of melds things together a little bit.

Some places you'll wipe harder.

The places I wipe harder on this-- I'll take a clean paper towel-- would be in the sun area.

See how cool that is?

Before wiping, and it's still cool, but let's wipe down here where the highlight will go on the foam, wipe on the horizon, wipe in the path of the sun.

Okay, if you're to paint a portrait and you're painting the head, do you put the eye in first or last?

And the answer is yes.

If you put the eye in first, then everything else works up to that eye or if you put the eye in last, and when I say "put in" I mean refine it, if you put the eye in last, then you work everything up and then it's the dessert.

So both ways work.

So that's really what I'm saying here.

Should we put the sky in first or last?

And I'm choosing to put it in first.

I just feel like this will be something that will relate everything else to it.

So once we have that in, we don't get too light down below.

The color that I want to use will be some red.

This is Quinacridone Rose.

You get the points just for spelling it correctly!

Let me show you something here.

That's Quinacridone Rose, this is Naphthol Red.

You can just see a little bit difference in the paints, and let me show you one more, Cadmium Red Light.

They're very subtle in difference.

Now after I have them out there, I'm sort of deciding to choose this one, so this is the Naphthol Red and white.

I was first going to use the rose, and that's good too.

I'll probably use some of that as we go around areas.

This at the moment is very bright but the sun will be even brighter.

Now I'll push this up slightly.

I don't want to lose that impact that I first placed on.

Push over, it'll touch a little bit against the cliff right there.

And this as you would recall will blend in with the Saturday night bath a little bit so as you go up, you have a nice softness.

You achieve that that way.

Okay, let's come below.

I'm going to take some of the Quinacridone Rose since you were chosen first.

Let's put you down here, just a little cooler pink, is it not?

Put this over here, push up just a little bit like that.

Okay, I'll continue to use the pink.

My thinking is if I put the pink on now, then I'll work the clouds into the edge of the pink and soften it a little bit.

It could be always that once you have the cloud on you pull the pink into it, so both ways will work.

Let's go with this Quinacridone Rose, just a little bit darker, let's see.

Not much darker.

Okay, we'll go up in here.

Oo.

Needs to be lighter, so I put more white in it.

Oo, this is quite pink.

It's just a couple minutes later in the day!

So what I'm saying is, I like it, I'm going to use it.

Up in there, and a little bit right in here.

Notice what I said, we're going to push the cloud into that and will soften that a little bit.

As we go to the right, I sort of think that I can't just take the red alone.

I'm pushing a little bit of the Ultramarine Blue which we did put on as an overall Saturday night bath color, and I put a little bit of the rose and the blue together to get a cloud like that.

That is so good.

I almost need to pat.

I like that!

Good job!

Come down in there and then down in here we have a little bit too.

I think what I'll do is, I'll go ahead and put a little bit of the clouds in and then we'll-- won't finish the sky.

It has enough of an impact for us to let set for a while and we'll go elsewhere.

I do want to come over to this one.

This is quite bright or quite dark.

So I have a little Thalo Blue and I have a little white on that and I'll take just a little bit of the red.

The red seems to soften the blue slightly, I don't know if you can see much difference in those but this is right in here.

And a little bit of the blue over in here, and then up above here I have some of the blue.

I notice one thing that I think I'll go ahead and continue with, and that's this same blue and you see on the original-- see on some sky openings?

I've kind of lost those a little bit.

I don't know if it was the bath or no, I guess they just weren't there.

Okay so let's push this back in, get a little bit of an opening.

I'll come right over to the pink, and in coming over to the pink, I'm pushing it so it's not quite as large.

Come over this way and then we come over across here is some more sky showing.

Very pretty, so we're kind of leaving that alone.

I'll probably hit this on the way just to give a little bit more of a dark cloud there too.

Okay let's come down then to the cliff.

This I'm taking a finger and just pushing a little bit.

That was a little too much looking like the edge of a saw.

This is Thalo Blue and white, very little, and I want to come down on here which will suggest a little bit of patterns on that cliff.

Then in front of that I have a little bit of the blue, and I have a little bit of the Quinacridone Rose.

I wonder if that's enough, no I need more rose in it.

Where are you, rose?

Right there.

We need to have the warmth of the sun; that's better.

Going right across there.

Okay on these rocks we're just coming right down, we're going to do those.

We take a little Thalo Blue and white, and it's just a little bit lighter.

We already have the path where that goes.

And then a little lighter up front.

I'm looking again this is the rose and the blue that we used up in the clouds.

Oops, that's not dark enough.

More blue.

There you go... just softly.

See, your center of interest, of course your sun, but then the foam hitting against this rock, if I left that one dark, then your eye would go there and I don't want it there.

Okay now watch what happens on this, we can practically use what's there.

I'll take Thalo blue and white-- and who are you?

Oh good, you're Payne's Gray.

Come on on!

This will soften a little bit, I might have to add just a little red into it too.

So let's put this on as kind of-- good-- as a splash-up.

You'll notice on this particular painting in contrary to a lot of the seascapes, is that it doesn't have a big strong powerful light there.

You have some feeling of it.

The little pink coming on certainly helps, but this is featuring the sun.

Okay, we'll come down below this little spill, we call that the spill, or the dump, some would call it the dump.

Spill is a little more classy!

A little bit over there.

And then to the next ones.

And a little bit right against that side of the rock.

It's so nice when you get such a help with the acrylics that this is just the dessert time.

And a little down here and then I will go ahead and take my-- I thought I had a mop brush.

I don't have a mop brush!

We'll just take a fan brush.

This is the other fan brush that's clean, and just there-- soften that.

What's good about this, it's good I didn't have the mop brush because this can kind of force it around a little bit more.

Look for the good!

That's the advice we always gave our kids.

My daughter, every morning she would say her prayers, for the family she'd say "look for the good!"

And we did.

All right, now let's go a little bit brighter with the pink.

Let's see, what color of pink do we have there?

We got that-- that's the Naphthol Red and white.

I think we'll use that so it has kind of a harmony with the sky.

So put this along in here-- oo, that's a little bright!

A little more red... perfect!

The second time you always have to say "perfect" whether you're doing an introduction or if you're doing a painting.

Perfect!

Okay, down here, and remember last time when I was talking about there's no eye in there, but there is one down here.

So I'll just sort of soften that around.

So you make good use of that.

Splash up a little bit.

Let this one continue over so you can feel like there's a top to the wave there.

A little bit on this guy and a little bit in here and a little bit in there.

Okay now, I'll blend just a little bit, I wipe the brush, this as I blend, it's more of a pulling down so it feels like it's coming across that dump, or spill.

Splash up just a little bit too-- it's another way to get nice softness-- splashing up a little bit.

This one, I splash up just a little higher because I wanted to break the line of the cliff coming down.

Now we'll take just a little, let's see, I have a small flat brush, and I want to take some blue and white.

Just to make just a kind of little bit of feeling of little foam patterns lying on the surface there; a little darker maybe.

These are very incidental they just ornament the wave so you feel like it's going the correct way.

A little bit down here, not much, just slightly.

Not much variety in those, is there?

As we go over to the right, we'll make them just a little more dominant.

Let's see, if I can stand so you can see.

I'm using the chisel edge of the brush.

You could use a twiggy brush, whatever you want.

What's quite nice about this, that you have a lot of that acrylic still there.

It has a little Saturday night bath on it, but it's quite easy to control as you're doing this.

And then what about down below?

A few in there, now watch what I do here.

I'm taking some blue and instead of making them that, I'm just adding these in to suggest little openings.

Same way down here.

Oops, I'm not dark enough.

♪ I'm reaching ♪ reaching for the stars.

Okay a couple places, just a little accents, we'll take the Ultramarine Blue right under here.

See how it's just a little darker, the accent.

We'll come over with this one, just a little bit there.

I'll kind of underline that just slightly so you can see the edge of that wave and then down here.

This'll help.

I do feel that I could put a little bit of this even right along here, just a little feeling like there's the top of the wave.

Over on this side I want to just push so that a little bit of the pink is leaving right there, and then let's go to the sky and on the way to the sky, I'm going to stop at the horizon with a knife.

This is Naphthol Red and white.

Isn't that a nice gleam, and I'll put a gleam here too as a preparation as a home for when the yellow comes.

This is Cadmium Yellow light and white, actually it's called Cadmium Yellow... Cadmium Yellow.

Okay, just a little bit at the horizon... and a little bit as you talk about a "path of light."

I feel, even though the original doesn't have it, I'll have just a little bit of the path continuing, even so much that we'll put a touch on here.

Okay, now we go back to the sky, and this is talking about putting the eye on last, because we built everything else up, now we got to work up there.

And I'm going to, on purpose, make this a little more dramatic than the original.

And if you didn't want it more dramatic, just use less paint and blend it in.

I need to touch the canvas, it's a little springy.

[soft tapping] Tapping it around with the knife for a blend.

So you can see-- oo, what are you doing?

You need to be in a straight line so your sun needs to come over here.

So we'll just tap that a little bit.

You can see when I placed that on, at first it looked so powerful and good, and I could have left it like that, but then you decide how much impact you want so it doesn't throw everything else off-key.

Just a little bit underneath that cloud too.

I need more.

I got, I had more.

There it is.

Now I need to touch that because otherwise you say well, which one's the sun?

The sun is the upper one-- this time.

And you can see if you wanted the lower one to be the sun, then you just leave it and you'd soften the upper one.

Okay, let's take, just with the final moments we have, we'll look at the sky, and I'm looking at a cloud.

I really like what happens with the blue and white.

So I have Ultramarine Blue and this is the Quinacridone Rose and white.

We're using that just to impress you that I can say that word!

I even know how to spell it-- i-t, no, that's one of my grandson's jokes.

Okay, softening that... coming over, and this-- you can see how that cloud in my painting is a little dark, so I'm softening it a little bit.

I do want just a little bit of the darkness to be there, because the whole picture scheme is just a little more rich than that one.

Okay so now we'll come down here, and we'll soften this.

Soften from below; we don't want distractions.

Those all could take away from this interest.

The clouds up above, I'll take the Ultramarine Blue just to push back in a little bit.

I think that light that was there was just a little strong.

At the same time, I want you to be able to see where the edge of the cliffs are.

Just a little softer, like that, and I'll touch that edge of the cliff so you-- not all of it-- yeah, I guess I've done quite a bit.

Here I'm softening so you let it diffuse.

[Buck's voice cracks] Here... here I'm doing it!

I haven't been painting that long!

[chuckles] Here, so you get a little character on the edge.

All right now over on the right side, I'll use some of that same bluish tone.

It's meant to be the same tone.

Where are you?

There you are.

Look at the difference between those two.

There's not a lot of difference, but this is just a little richer, I feel.

We come right down below there, push this over.

You know what's so neat?

We've had time to work on this, and I really like the way it looks.

Like the way it looks; hope you do too.

And you can do whatever variations you want.

I just want you to see how I approach painting this seascape, and with the line drawings, you certainly have that for you.

I'm pushing in just a little-- oh, I see one spot, we have enough time for that.

This is Naphthol Red.

Right in here, see, this will be kind of a little-- oh, see look at that!

That was needed!

Just that little burn, and I'm turning this around so there's nothing on the brush, just blending it out a little bit.

Little red down here.

That sort of separates the horizon from the gleam.

And then this is a little strong, I need to push this over so you can see the edge of the cliff.

Ah, I like that.

Now, these, you can always spread them out just a little bit here and there.

I will to take a little blue paint here and push in just so you get a little bit of foam patterns there.

I'm going to take a paper towel and just blend a little bit so it's not quite so strong, but you get the feeling of the trough.

Right behind the gleam or the top of the wave, if I'm just a little softer there, not quite as sharp.

That's good too.

Okay I think we've done what gives us the forever moment.

Thank you for watching.

It's been such a pleasure being down on the beach with you!

See you next time.

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