It does not matter if the stream of water is warm or cold if you're going to have to wade through it anyway.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ We have a sunset to catch, to capture.

And today we're doing the oil stage of "Golden Retreat."

We started last time in acrylics, and you can see we have a pretty good start, and what you also see is, you see a pochade, which is a quick sketch, we see the middle stage, we see the middle stage just about the same, maybe worked up a little bit, and now we're going to put oil on.

We don't have anything to look at.

So it takes a lot of inspiration and courage.

Experience!

I have the experience.

I'm going to start with Walnut Oil, and I'm going to dip right into the paint right away, and this is Sap Green.

So you can do it either way.

You can put the oil on first, then put a little color in or put the oil into the color, then come up to the canvas.

Let's see, a little more oil.

Either way, I will be doing a little wiping to smooth it around.

[soft scraping] I so thank you for coming back.

This is such a new experience doing these.

Well, we've done it from pochades before, but then what's different, Buck?

I don't know, oh, on the white canvas.

We just kind of swish around a little color, that's it.

But you watch for future shows, not on this series, but future shows.

We're going to do a lot of splashy-splash stuff.

I have some sports scenes and so on that I want to do that way.

In the meantime, check out my web page, and you can see some of it.

Now that's Sap Green with a little oil.

Wipe just a little harder there.

I'll wipe a little harder where the highlight's going to go into the river.

See, you almost feel like something like that is-- gee don't touch it Buck.

It looks so good!

You didn't say that?

Oh, I guess it was me.

Okay, let's go around the sun area, and we'll use kind of a golden tone and to get the golden tone I'm thinking of the Yellow Ochre and yellow and white.

So what that looks like is about equal white and equal yellow and equo, equal-- whatever that word is-- Yellow Ochre.

[soft scraping] Yeah, that's a good golden tone and as I'm putting this on, you can hear it.

Why can you hear it?

Because I'm using the flat part of the knife and just pushing real hard so it doesn't end up having textures per se.

It's thinned out.

I'm going to change knives.

That one keeps thinking that he's with the big boys, but he's not.

A little bit down here.

And I find that as I go away from that area, I don't have quite the coverage-- you can see a lot of the greens still showing through here.

There it's pretty solid.

I might have a little bit over here, but we have to be a little cautious that might jump a little too much.

So let's come with Raw Sienna.

You're down in the corner.

In this corner wearing brown trunks!

Raw sienna.

And I dipped into the Walnut Oil with the knife just to make it a little liquid-like.

When I come over this side, my intent is to put up almost like representing some boughs-- is that what you call them-- of foliage.

Rather than just do it solid, so you can almost count one, two, three, four, five, six-- like that.

Oh, I love doing these shows.

This is the 14th year back here and 25 total!

What's interesting is the paintings are getting better, the artist is getting older, but oh, wiser!

Oh, it's so neat to be healthy and strong and guided!

My art instructor Claude Buck, oh, he many times, he'll inspire me to do something, more than anything to try something.

He used to tell me about his mother.

She would never say no.

She'd always say "Let's see if it can be done."

What a great attitude!

My father, when I told him I wanted to play professional baseball, he says "Oh are you sure?"

And then after I signed, was playing with the beautiful Fargo-Moorhead Twins, he says "Yeah, see, I'm glad I told you to do it!"

Yeah thanks Dad.

[chuckles] But he was there.

He was so much a fan and a support.

And he'd brag all over town.

[soft scraping] Isn't that pretty?

Now, what I need to be careful of... yes, I just reached behind the palette, or canvas, and it has a middle board down through it, which is nice support.

But see this, this, and this they're hitting the board, so I have to make sure that that's disguised a little bit.

Disguised a lot.

"Di-sky's" the limit!

Let's see about down at the water.

I'm going to work on the water, then we need to make sure we have some detail in the trees, and we need to make sure we have good accents.

When I look at it and feel one of the accents I'll need to have will be in here, which I don't have yet, but let's go with the water.

On the water I'm looking to go-- this is Ultramarine Blue.

I'll use it straight, unmixed.

It's more or less going on the sides so it darkens it as it goes into the bank.

Like that, and then we will come across the water itself.

Are you the blue?

Yes, you're the blue.

We'll come across this water just to have a little something to blend into.

I do like after I've done that to wipe just a little bit.

To bring back that light, and then we'll add some highlight into that-- with the knife.

Okay, this is Phthalo Blue and white.

This is not as light as it's going to end up being.

This is a kind of a building to the light.

Isn't that a nice sparkle?

And you have some of that underneath showing through which is just not quite as bright but it gives you more than one value and quality of colors.

Quality of color it gives you.

Push this one over a little further, a little bit more down there.

[soft scraping] Oh, I really like that!

It's so much discovery for me doing it.

Okay now, let's take, you're white, and I still have maybe just a touch of blue on the brush.

Not really.

So we'd call this, well you know what I'd call that?

I'd call that a little Yellow Ochre and white.

It's not quite pure white.

And I'll put this down as a sparkle right in there.

And then the next level.

And the next one, when I come down lower, it's kind of bouncing against rocks and that a little bit, so to make that happen I sort of angle this just a little bit.

Then I'll take the knife and sort of go on the sides, roll it in so you're not quite as sharp on the sides.

It's more classic down through the middle like that.

I think that's real pretty.

Okay, so what I want to do now is put a few darks in with the knife on strategic places.

Let's see what we'll use for that.

Where's my Van Dyke Brown?

You are Van Dyke Brown.

We use Van Dyke Brown, and we'll use Sap Green.

And that looks like equal parts, I'm going to add more green so it's now 2 Sap Green and 1 Van Dyke Brown.

For the first place right in here... this is such a neat dark because it's right close to the water highlight.

[soft scraping] It's interesting when I'm doing this now-- I asked for this to be there too so I can look at, but I find that I'm really looking at this one.

So we'll see if we can't use them both.

Besides this on the front side, we have a little bit of this over in here.

This is already rather dark, but now I'm just adding just a little shades of green into it.

As I come back down to the palette-- before I get to the palette, I'm going straight across.

This is a little sharp there, so I'll just soften that.

[soft scraping] And I'll go higher then... up in here and this likewise, this is already pretty dark.

There's a couple places.

See how that's a little more of a little darker accent?

And as we go higher on the right side right along here.

This tree is more kind of a vertical one.

This one slants out and this one's sort of vertical.

Let's look at the other side, the other tree, the big tree over there.

I quite like it, but I think just-- what are you?

Where'd the purple go?

Here's purple.

I'm going to take that Sap Green and Payne's Gray and add just a little purple into it.

It'll give a little more of an impact.

Oh does that ever!

Notice this is on the interior.

It's not touching any of the edges.

So that we don't have a real strong contrast.

A little bit down below, still on the left side.

I'm going to choose some of that to go into this place that we put down earlier.

See, that enhances that dark.

It's just like building the highlights.

You go lighter, lighter, lighter.

Well in the dark, you go darker, darker, darker.

instead of just starting right at the dark, you build to it.

This is also that dark, building to it.

Okay let's see, I'm touching, I'm reaching across.

Brushing there, coming over here, just spreading out what's there.

Now let's look at the-- what are you called?

The banks.

The Banks!

I appreciate my floor director.

She knows banks.

She knows banks.

Okay here's Raw Sienna and Sap Green equal parts, and I will slant this on, so that's the way the grass is growing.

[soft scraping] Blend there as it goes in and under.

I want some of what?

Let's try some of the Sap Green, I'm looking at Permanent Green Light and a little bit of this yellowish tone.

When I say yellow tone, that's the Ochre and Cad Yellow.

So I added just a little bit of Sap Green to it.

[soft scraping] And you can hear this because I'm kind of using the side of it and just seeing how much I can put on.

Whew, that's too much.

Put some dark back into there.

That was just to show you if you ever make a mistake, you can correct it easy, easily.

Okay, now I'm going to take a dry fan brush and kind of push this around so it will blend a little bit.

Just a little disguising its character.

I need to say what's going to happen.

Oh, over on this side.

Oh gosh, there's some red.

How red can we go?

This is red light.

Well let's say that we'll start, we'll just do what we talk about-- building the lights.

So you're rose, Quinacridone Rose and white.

And a little bit over here.

A little bit on the lawn.

And there's just-- what color are you?

You look like you're almost kind of an orange.

I'll take the Cadmium Red Light and yellow and white.

That'll give me a good home made color there.

I'll hold this up.

That's pretty close there.

Pretty close is what we want!

[sighs] You guys, ah...

I can hardly wait for-- we're going to do a public demonstration I can hardly wait for the people to come see what we've done.

You're all invited, of course, you will miss it by a couple months, but that's okay.

Okay, now I'm going to take a brush, and I have a round brush, and I want to just suggest some trunks, tree trunks.

So I have Raw Sienna and a little Sap Green and white.

Now this, always with the idea that we can go lighter.

You just establish its position, and then we'll go lighter.

One over in here too.

Now see, this is kind of light trees.

We want some dark ones too.

So let's come over on the other side, and we'll do some dark ones.

Where are you?

Here you are-- Van Dyke Brown.

Put just a touch of red in that.

You can't see much there, you can see a little bit there.

See that?

You can see that.

I feel, as I look at the pochade... almost a little suggestion of a tree there and there.

And I think we better do that.

That is quite a jump between anything happening, so if I have just a little bit here.

Very lightly put on.

Put another one, I'll use a little Van Dyke Brown, touching with some of the red.

What about the other side?

Almost feel like there's one there, so let's do one there, but rather than be repetitious on just straight up, let's angle this one a little bit.

And a little branch off of it.

Okay I'm going to take the knife and just kind of mush that a little bit.

It will soften in slightly.

[soft scraping] Then while I have that knife, I'm going to take some of the-- this is yellow and red and a little white.

See, that's beautiful.

What makes it so good is, you see the color next to it?

It further compliments the color next to it by being some of the same color.

So they're family.

And if I need, oh-- I'm going to put a little-- I was going to say if I need to change something.

Let's make this a little stronger.

That's a little strong but oh, I sure do like you.

Okay, coming down to the bank again.

I see a little vitality there.

So this is the two yellows with just a little green in it.

That's a little strong.

Oh Bucky, get excited, but do it carefully!

I'll put a little bit of dark green on that.

See, this is such an easy way to correct-- just a little dark green and just touch these.

See, it blends in.

Actually by doing it this way, you get sort of a nice accidental effect.

You add the light on, It was a little stiff looking, when I add a little dark in there, it sort of broke it up.

Let's come with just a little more of this red.

This is Quinacridone Rose and white.

What I don't see, but I think needs to be there would be a suggestion of a couple rocks right against the banks.

So I have Payne's, no you're Van Dyke Brown and blue and white.

Now we'll place these on, and then we'll put a little highlight on them.

We can do this on both sides of the stream.

Okay, now just a little highlight on them.

White with some blue on it.

That should work.

It works!

And when you have rocks and water, you pretty much will have just a little--oo are you generous.

A little bit of highlight that sort of, I guess it's capillary action near the rocks.

This spot needs some help, so I'm going to take some of the green.

This is my two yellows and some of the Permanent Green Light right in here.

And I'll slant this down just slightly too so we don't get too much of a straight across effect.

Okay this is the point where-- see we put a highlight in early, in the sun, but now, now we can put a little quantity up there.

So here's the knife, and we're going to use yellow.

So it's yellow and white.

Okay, you see what's there?

Now see what's there.

That's one place I would load the paint on because it's very intense.

Coming down just a little bit, I'm adding just a little more of the golden tone in it.

Let's see-- yes.

A little bit, and see here?

I've cut right through the trunk and maybe just a little bit there.

I want to come on that side right in there.

I want to have a strong light, so this is the light that we put in over here.

I like that.

Now, the tree that's to the left could have a little light hitting it.

See, that's so neat, because you see some of the little reddish tone, you see some of the dark tones.

I'm going to go higher with the light on a couple branches there.

This is Raw Sienna.

Oh my goodness, this is so enjoyable!

I'm discovering with you!

I haven't done this one before-- just a pochade.

It's so neat to work a pochade up.

And in a studio you might take a little longer and that, but working with energy and letting the painting guide you, then you're not so much saying oh I wonder if I do this, I wonder if I do that-- you just do it!

Some of that same light coming down just a little bit lower here.

It kind of gets us a little closer to the stream.

So "Golden Retreat" is ready to go.

Thank you for watching.

I just, oh, I'm warm, I'm excited!

I hope you are too.

See you next time.

Bye-bye!

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