Are there any secrets to painting a great seascape?

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[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ It's always fun to put the final touches on a painting.

You go through the early stages, get it ready.

This happens to be dry.

And this is the original.

We're going to work on this to bring it up to the original.

I have some Walnut Oil that I'm putting on the canvas with a big fan brush.

Notice when I do it, I'm kind of just generally in the middle, but I'll push it out which removes a little excess and continues to cover the whole canvas.

Did you see how I stepped back so you can see that?

That's great.

Now I had intended one thing but I'm going to do something a little different.

I'm going to take the sky-- this was the sky left over from last week.

So we have our Phthalo Blue Red Shade.

Boy, that's a long one!

I mix white with that, let me see if I can give you a formula.

This would be, this is the Blue, and this is the White.

Okay, it looks like about 7 to 1.

7 White, 1 Blue.

And I'm going to take this, I hadn't intended to do it, but I'm going to do it almost like a-- what did we call this?

Not a Saturday night bath, but mud-- put some mud color on.

All I'm doing is making that so you can see through, but it has a real soft color that I can work into, and I don't mind it going down over the cliffs a little bit.

Okay, I'll wipe out slightly where I'm going to put the strong highlight.

Come on, get off of there, get out of my sky!

All it needs to be is just a little dry.

It doesn't go down to the bone, so to speak.

So let's take some Yellow then.

This is Cad Yellow and, see, I saved the paint from last week.

So I can jump over and borrow them.

I do have some new ones too.

This is 2 White to 1 Yellow.

This is Cad Yellow and just regular Titanium White.

All oils.

We'll put this in right there.

When I put it on, I'll have it like that, then I wipe the brush a little bit, then just go up slightly.

Oo, that's pretty-- is that not pretty?

And what I'd like to do is use some of that, and we'll just tip that cloud over there slightly Okay, then wipe the brush, gently blend it.

Oo, I like the sky already.

We could just sign that; you could sell that.

I think.

I couldn't, but you could.

Let's come to the...

I'll come to the sky last.

I'm going to take some Burnt Umber.

Here's some Burnt Umber over here from last week.

Be sure when you put some plastic over that, put in the refrig or whatever, then you can use it the next day or the next week.

This is just the Burnt Umber, and this will do two things.

You can see the little bit of freshness that it has as a glaze Then it also gives us the opportunity to work wet into wet.

The wet being what we will now add to it.

I've held back, I haven't gone right to the sun, because I want to have something special there.

And this is Quinacridone what are you?

Quinacridone Red Oo, are you a nice color, one of my new favorite colors.

I'm going to check the amount; there's a little White.

Let's try about, oh gee, you're about 10 10 White to 1 Rose.

I'll add just a little bit so it's now 5 to 1.

5 to 1.

Where are you going to put that?

Oh, this comes across the burn on the sky, right in here.

Put a little bit on, then I'll kind of blend it down slightly, push it over into the cliffs.

I didn't leave any blank spots there, I did here.

The reason I did there, I want it to be very rich down here.

I want it to blend in to the color that's there.

Thank you for watching.

I love to hear comments from people who see the show.

Sometimes they're suggestions, I wish you'd do this, or so on.

Sometimes it's I don't paint but I sure like to watch the show.

And that's really a compliment.

Okay, I'll blend these out just a little bit.

Now, the one at the sun, I'll soften-- that's not it-- right in here, just soften a little bit up into the sun, like that.

Then I want to have a strong sun.

Actually I have 3 strong sons and 2 strong daughters.

Okay, so this is Cad Yellow and White.

That looks like about 2 White, 1 Yellow, I'm going to go more.

Powerful colors-- 3, 4.

4 White, 1 Yellow.

We'll put this right in here.

See, the quantity helps, then just a little bit brighter.

I'll push this up just a little bit.

I like the knife because you can get small amounts, just accidental looks over to the side.

Okay, so on the cliff I'm going to take a little bit.

This is the Nickel Yellow, Nickel Azo Yellow.

Gee, what a long name you are; you better be good.

And a little white, let's take about 2 Yellow, 1 White just to come down a little bit as the path of the sun.

That works, that works great.

I'm softening these just a little bit.

Sometimes people wonder how do you get paint on your hands?

I don't know!

Must be on the outside of the tubes.

Okay, let's go ahead and do a little bit on that left sky, or right sky, then we'll come down to the water.

I'm going to take, I'm going to try with, gee, sounds like if I could use something exotic.

This is Mineral Violet and Burnt Umber, equal.

Oh, I like that because that goes with the feeling of the time of the day it is, sunset time.

And notice as I put this on, I'm using a lot of the previous color as being the cloud color, and this just adds a little bit to it.

We can take a large fan brush, where are you Iargie?

Hiding.

I'll first go in the sky.

Oo, that is so helpful, blending is so important.

Okay, next area, and you know when you do this, you're once in a while going to have a little streak that you say, I need to touch that because the brush mark shows a little much.

And then over here, this, what I'm suggesting now-- whoops, where did you come from?

You are kind of nice, I wonder if I could use you.

Just put a little more cloud color in, then it'll soften it a little bit.

Good.

Notice I didn't come quite to the horizon.

We're using the previous color.

What I wanted to tell you was, what I did before when I put the cloud in, I was kind of soft, and that's so helpful now.

So I don't have to touch that edge; it stays as it is.

Okay, just a little across here, and there again, you just have a little bit of a line, so I'll just touch it slightly.

Okay, let's come down now.

I think it would be a good idea to come down to the big foam, And then we'll be able to do the tree afterwards.

It's very similar to what we talked about last week, where you put the foam in, then the rocks second, so you're not getting messed up into the rock color, so I don't get mixed up with the tree color.

So here comes the foam color.

What are you?

This is what I just put up in the sky, that Blue and White; oo, that's nice.

So we'll put a little bit of this back on.

You can see it has just a little color in it, but that's not its whole purpose.

The purpose is to get some color in.

But some mist that we can leave.

See, I came down in here with the mist, a little bit there, a little bit up above the wave.

That is so important.

I see so many oceans painted that have hard edges on the foam.

You can put some strong lights on, and they'll be kind of a definite edge.

You look at the original, you see some strength in there.

Look at what they're going against, a little softness.

Over on this side, a little bit on the distant waves, always doing a little bit of the splash-up.

A little bit in here just to have it wet.

So when we put the highlight foam on, we'll have something to blend into, and it'll make it a much easier blend at the bottom.

If this were all dry, and you put on the light, then you'd have to try to soften it and so on.

This works very well.

I'll push this back just a little bit.

The reason I'm doing that is the space in-between the wave and the cliff which gives a little problem, so I'll take a little blue and put just a little bit more in there.

I'm going to change my mind, I'm going to do the same thing.

But I want to have a little stronger blue, so I have a little blue on the brush.

Oh, gee, that's beautiful but I can't use you.

As I push it around to remove it, I'll make use of it.

Now I'll put some of the light blue back into that area, and it will have something to blend into, that darker blue that was there, not by a mistake, it just brought the whole family, and I just said bring one person.

There you are, like that.

Okay, I kind of want to build towards the climax of it all.

The climax will be the big foam.

Now we'll come down to the water.

I want to put in the eye of the wave.

What do we have?

You're Permanent Green Light and White.

Let's mix it so you can see it.

This is helpful, ask your teacher, let me see you mix it so I know what you're doing.

Okay, I'm using 2 White, 1 green, then let's take a little Payne's Gray.

So that ends up being 2 White, 2 Green, 1 Payne's Gray.

This will be a kind of a building thing.

So we can always go lighter.

This is kind of a repetition, but I said it before, Instead of starting right up there at the top where I normally do, I'm down lower And I just love that aspect of that turning over there.

Push this on, and I'll pick just a little more Permanent Green Light-- oo, love that color.

That was Permanent Green straight.

Did you know that?

Okay now, I need to soften.

So I soften a little bit here.

That will give me a good eye.

Then the lower ones I'll soften too, and that'll make it so it's less sharp Okay, let's come back with that just a little bit.

And while we have the green on the brush, just out there.

Now, this one does start at the top of the wave.

Okay now, let's just see on this, we'll just blend a little bit.

See, I really like that.

I'm going to take some of that green and put down here.

Just like that.

All right, I think what I'll do next, I'll put some color on the foliage.

We'll see what happens when we take, this is Permanent Green Light and Burnt Umber.

It looks like equal Burnt Umber and Green.

And let's see how much White we put in that.

That's one white, you know, I need to have something, I'm going to take Burnt Umber, Burnt Umber.

I need to have more Burnt Umber.

So that kind of cuts the green brightness down just a little bit.

And we'll go over with the fan brush.

I use the fan brush tremendously often.

So I'll come, oh, that works just right.

I'm using the full fan brush, edge of the full fan brush as I do this to start with.

Then when we go out into the foam, we'll be using the corner of the fan brush.

Now I'm coming back and touching them just a little bit so it isn't just a stair-stepping look to it.

Equally spaced stairs.

Okay now, if you look at the original and compare this, you're going to have some of these come out, and some, I'd leave a little darker so you don't destroy the ends of them, you make use of them.

They work well as a silhouette.

Normally what I would do, and I probably should've done there is if I'd have put the foam on first, then this come as a silhouette, but we can still do that, but we'll do it after we put the foam on.

Now I want to put on some color on the rocks.

I have Payne's Gray, and I'm making just a little bit of a glaze Why did you do that?

You said you were going to do the foam first.

I need to do the foam first, so I'll stop with the rocks there, and I'll come with the foam.

Now we've put the light blue on the foam.

So now it's time to build a light.

I'll tell you the light that I really like is taking White and...

Warm White Bleach Titanium.

Oh, I love that, so I mix the two together, and I added just a little bit of Azo Yellow.

Here is my strong spot.

And why is that the strong spot?

Because it's in the path of the sun.

Remember that.

It would be so easy to go strong other places.

And I'm just placing this on before I blend it.

More, more, more.

Over here is where I was suggesting we'll put this on first.

Then the little fronds can come out into it.

Now here's one thing that helps.

You notice that I have foam all the way up there.

A lot of that is mist, so I won't go very high with the splash-up foam, then it won't confuse the viewer of whether that's foam also or if it is a mist.

I'm blending this just gently.

What makes this quite nice to do is the fact that this is dry.

I did put that little Saturday night bath, is that what I called it?

I think I do.

It's not a glaze, you're using opaque to put on.

Okay, let's come down here... into the rocks And a little bit in there.

Now, I'll blend those.

Blend this one.

And see, you have the sun in, so it kind of guides you on how much to do down below.

We don't want to compete with the sun because of its position.

It's already very important.

Just a little bit there.

And just the smallest touch on the horizon.

Okay, so we have a little work to do here, so I'm going to just blend these a little bit, and then we'll put on foam patterns.

See, if we have any place we have to stop here, you say, gosh, that's great, that's good.

I'm going to sneak down just with a little bit of this color right in there.

You can see it's so little you don't notice it as being the same as the above.

It just emphasizes that slightly.

Okay, let's put in some quick foam patterns.

I have a round brush, and I'm picking up the same color that we had up in the sky.

Oh, these are so neat to put on especially when the canvas is dry.

Notice they feel like they are going up into the wave.

The important thing on them is direction.

And we can have some out here too.

These all help us move to the outskirts; and a little bit down below.

Of course, you-- and I'm jumping around here-- you kind of need to spend a good time on those.

If you watch some of the tips that we do at the end of the show, I guess the tips on the Bonus Feature.

Be sure and get the DVDs, then you get everything.

Oh, I hope that didn't mislead people.

Okay, so let's come down to the rocks, and I'm going to take the same reddish color.

Let's see, let's take blue first.

This is the foam color, the blue and white jumping over to last week, blue.

Putting just a little bit on the rocks so it feels like the foam has come in there.

Seems like there was something else I wanted to tell you.

Oh, I know what we want to do.

We want to take some of this same highlight that was in the sun.

You're coming down, and make sure you get a good spot there.

And down lower.

And I'll take some of that pinkish color, it just kind of brings the sun down into the foreground as well.

Even a little bit on there.

Now we have rushed a little bit, but gee it's fun, and it really looks good.

Just a little darker in there.

While I have that on the brush I'm going to go out and touch, just a little bit of character on the edge of those.

Oh, I hope you enjoy it as much as I enjoy doing it!

See you next time, bye-bye.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... To order the complete 13-episode series 20 of "Painting with Paulson" on DVD including Bonus Features and Line Drawings, please visit or call...