It is a well-known fact that the older a man gets, the faster he could run as a boy!

The older I get, the more I believe in what I never saw.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ We sure have something special for you these next 3 weeks, because we're going to do "Hawaiian Fantasy" in 3 parts.

First part today is done all with acrylics, then the subsequent ones will be done with oil, but we have some surprises along the way.

I want to say one thing about the preparation here.

The canvas, one white, one black, one Permanent Green Light.

Then the drawing is done with Ultramarine Blue acrylic.

When you look at this painting, I've never taught it in an art class.

This is the first time doing it here, but I painted many of those because years ago when I was in Hawaii-- and I taught there 8 years-- there was a gallery there that loved them, and they sold many of them.

They call that a coffee shack and the workers go out and they work in the fields and so on; it's a marvelous thing.

And you have waterfalls all over the place.

Let's start by putting just a little white out and Ultramarine Blue.

We'll put this in to begin with up in the sky.

I've kind of over the years realized that it's a little bit helpful to the viewer and maybe to the camera people when you start in one location and you kind of work down.

In a workshop, you might say well put that in and we'll let that set a while and come to the other places, which is fine.

They can see it in total, but with the camerawork I love the way it works, we just work on down.

I'll put just a little bit of Yellow Ochre out and I'll put the white and Yellow Ochre together, then just a little bit of the blue, so it's not real whitish but it will be light.

This will be the little cloud there, but we might have a surprise before we end this.

Now I'll come down to the cliffs, and this will be strictly Ultramarine Blue and white.

We will later be putting character into the clouds, but right now I think that I will just establish a little bit of a value that-- um-hum, that works.

♪ Um-hum that's good, um-hum.

Have a little Buck rap, huh?

Like that.

You're going to find-- I'm dipping into the water, picking up some more paint-- that the outline which was done with blue acrylic will stay as long as we want to, but we can cover it, and it won't show through.

I've said on other shows, and let me repeat again that when you outline something, you want to make sure that it's not going to come through your final painting.

That can be a little embarrassing.

What we used to do a lot, especially when we had a primed canvas would be to draw with chalk first, so that if there's an error, it's easy to wipe off.

After with chalk, then you can do it with pencil, and you could put what you call fixative on it, and that will preserve the drawing when the oil goes over it.

What a great place it was to go and to teach.

I taught there 8 years; oh, that was marvelous.

And the reason I don't go there anymore?

The lady who ran the workshops moved away, and actually the gal who did the gallery work, she went into a different business too.

So you just move on; that's the important thing.

If one door closes, go down the hall, try to find another one.

All right, still with the blue and white, I'll take some of the blue over, a little bit of just brush mixing there, let's come over to the next one.

What I want to make sure of here is, see the value is about the same as the one to the left but as they meet, then that's where you would soften.

Now, where they meet is right along here, so if I go just a little lighter, I'll take a little bit of that mixture we had from the sky, just kind of mix it up put it along here.

See this is a little lighter, so it gives a separation, a feeling of space between the two ranges.

(soft scraping) All right, let's take just a little more blue.

When I look at the painting, the original, I see that the upper right side is just a little bit darker than other places and that's a very good way of what you say, protect the corners, make sure that your eye goes to more in the center of the canvas.

Now I push a little harder there just to make sure that I'm close enough to those branches so when they come out they will not have any blank spaces between them.

Now over on the left, we don't darken with the blue, but you can see we do have a tree there, so I'm going to just stop and go to that part.

"Don't stop-- keep showing!"

All right, let's take a round brush and first I'll establish a little bit of branches.

This is Burnt Umber, and you are Paynes Gray.

A reluctant Paynes Gray apparently.

I was ready to put it over there!

[laughs] It reminds me one time I was in an art class.

It was a 2-day painting, and at the end of day one, several of the students wanted to go back and kind of paint on other things and so on.

It wasn't a teaching thing, so we went back and this gal says could I look at the painting that you worked on today, which was not the finished one, and just correct mine a little bit?

I said sure, so I went ahead, and I was painting an ocean.

I wasn't going around doing any help, because it wasn't a class.

But then when it was time to go, I came over to her, and I looked and I looked, and I looked.

She was working on the painting that I had done as a demonstration copying hers!

[laughs] She was a little embarrassed.

What a neat gal; she was a good artist.

Okay, this is now time to pick up just a little bit of green.

I have Permanent Green Light here.

I'll mix it in just a little bit.

Let's see, should I do it with the umber?

Yes.

This is Burnt Umber and Permanent Green Light.

I would call that equal parts.

I'll establish the pattern and shape of this tree.

I'm not really concerned about it being exactly the right color now because whatever we put over it, then you allow some of this to come through, so you get 2 varieties, 2 values of greens rather than just one being-- hey that looks right.

So much of what gives you vitality in a painting is the color vibration and the vibration comes from little colors next to each other or playing through.

That is so helpful.

So if you remember that-- if something is green.

yes, but does it also have little flecks of blue in it?

Little flecks of purple and so on-- so that will enhance your painting very much.

All right so still coming down, we'll come along this area.

I think I'll go here first, which is the distant trees and it looks like we're back to the Ultramarine Blue.

So I have a badger brush, badger sable.

This is the blue.

I want to have this just a teeny little bit darker, Yes, this is darker than what's behind it.

Not a lot of character at this point, but it certainly helps, the more that you do start having a little bit of character.

I have found with doing my acrylics at home first underneath my paintings which I do, the mixed media, the more careful I am with the acrylic stage, the better it is when you put on the oils.

The oils isn't always used to correct-- and that's what I've had to teach several of my students in private classes is, oh we can correct that in oils.

You can, but the more careful you are with the first stage, each stage the better it is, which would include the more careful you are in your drawing.

Things can be changed, and I have many paintings that didn't start out as they end up, which means it may have been a sunset landscape and it ends up being a seascape-- sometimes just turn it upside down, and just put something totally different there.

All right, we have another cliff to put over here.

I'll come back with the fan brush, because it seems to work quite well.

It does it quickly and well.

So I'm watching the value.

It's about the same as what's been around there.

Let's see, are you the same?

No, a little more white.

And if it's not just exactly the same, that can be adjusted a little bit.

We find that in doing the television work that you're under a time frame, so you have to hurry a little bit, but you know, you just do the best you can in whatever time frame you have.

When somebody first approached me about doing PBS shows, I thought, oh, I can't paint that fast, but do the best you can in the 24, 27 minutes, but here to have 3 times to do this-- then we better get it right!

I hope you enjoy this, and I hope you support PBS, because they're the reason that I'm here.

You know last night, I went to a concert, and it was just such a gorgeous concert, and a great number of people in the city, Fargo, where we do these shows, came up and, "We love your show, we love your show."

That is so heartening.

I have again I'm using the Paynes Gray, little Paynes Gray with the green this time, I guess, before we use the umber.

They're about the same.

Coming down, coming down, we're coming down, and when we get down there we'll have a house and I don't know how much work we'll get done on that in the acrylic stage, but we'll do the best we can in the time we have.

Okay, now you notice that here and there you're going to see some of the underneath show through and there's nothing wrong with that because that priming of the canvas has a purpose as much as anything.

Okay, so let's just do this, since we're in this area and along here.

Let's first take a little bit of the umber and Paynes Gray, and we'll make a little trunk to the palm trees.

These palm trees are beautiful.

In Santa Barbara, where I live, we have a lot of these as well and its surprising, we have people come up, and they say would you sell us that palm tree?

I thought, my goodness!

My goodness, and then, "No."

Down to there, we'll get the other one.

Now you'll watch after I put this on, I'll put on some of the fronds.

The fronds!

So I'll take this flat, you're not a flat brush, you're the filbert.

You could use a flat brush too, and I'll take and make this just a little wet, I'll just do one on the palette, so I want to come out and make little loose ones like that.

Am I making them upside-down to you?

Probably so.

I don't know if I could go that way.

Let's try it.

Oh Buck you're so good!

Okay, here we go.

They are so pretty.

They're just so free-flowing; they move with the wind.

Next one.

You can bend these a little bit, and then you get the feeling like the wind is blowing them slightly.

If you're consistent like that, especially when you have any of these near the ocean, you want to make sure that you're allowing for the sea breeze.

Let's go up higher.

Oops, I need to be darker.

I'm coming out with pure Ultramarine Blue.

I don't have to put all the little detail on yet.

That will happen a lot-- the minute I say that, I'm doing it.

I was trying to correct, just protect myself just in case it didn't look the way it should.

Do it on the next one.

It's kind of intermingled there.

But you want to make sure you feel like this one has its own identity.

A little stronger just on here because this has a direction to it.

It sort of points down there.

You can see how you have the nice grace this way, and things come back, this comes over this way.

Everything leads down towards the house.

Okay, continuing on down towards the house, we have a mixture of kind of green.

Let's see what can get on that.

You're Permanent Green Light and you're Paynes Gray.

We'll set you over to the side and see what kind of proportions we get.

This is white and green, those are equal parts, then this which was equal part we'll add this in and see if it works, nope, we need to do the whole thing.

So we have one white, one Paynes Gray, one Permanent Green Light.

I can just see some great variety of colors of blues that will go on there.

So right now we're kind of establishing the position, a little bit of the value, and then we'll be concerned about the actual finishing color as we come to the next stages.

(soft scraping) Now there's a little bit of blue down on the side, so we use the Ultramarine Blue and white just to the side of the waterfall down here.

And what on many of these that I've painted, and you can even see it here, you have this waterfall, you have another waterfall, but go higher-- there's a little teeny waterfall right there and sometimes on these you'll have just a little bit coming up but I don't want to distract from this and this, so therefore mine start down there.

Okay we're into putting more dark on the left, your left, my right.

I need to have more Permanent Green Light and the Paynes Gray.

Boy, that brush mixing is good.

You'd call it equal parts, the Permanent Green Light and the Paynes Gray.

See how when you come out there too.

You have just a little bit of that character that shows the type of foliage that's there.

Coming down, coming down.

I'll move just a little faster on some of this, not that I've received floor directions to do so, because they're not quite sure where I'm going.

Let's go darker in here... darker in there.

Then we'll likewise just put a little suggestion of the type of character it is.

Let's-- we have this, we already have that.

A little dark right at the back of the house, then I need to have a strong dark down in the water, so this time blue, Ultramarine Blue and the Paynes Gray, you're together, so we'll just take you and put you down here.

I just love doing these shows.

It's so nice to go and have people respond and say we really like your shows.

And often, you know, people make suggestions.

They'll say such and such and such and such.

See how I went a little darker there too?

That's the Paynes Gray and Ultramarine Blue.

Let's just put a little bit in here too.

Okay, so now I'll put a little bit of green along, well, you need to be dark.

We'll put a little green along the lower area, then we'll do just a little work on the house.

Maybe we better put just a little blue, this Ultramarine Blue and White for the lighter bush back here.

It's just a little balance and it butts up against the house there, so we'll get a nice contrast there.

Okay taking some more of that green, Permanent Green Light and Paynes Gray and white.

(soft scraping) I can just visualize what's going to happen when we add, as you can see on the original, when we add a little Turquoise Blue down there, but for now let's take his neighbor, a little bit of the Ultramarine Blue.

Not quite light enough there.

I'm not overly concerned about that being light enough for the waterfall at the moment, but let's go just a little bit more on this.

Okay, now I'm going to quickly go on the house.

This is Ultramarine Blue and Paynes Gray.

Little more of the blue.

Have a little window back there, although it's not open, it's not being lit, such as the front ones are.

Down below we need just a little bit of red.

This is Quinacridone Rose and the blue.

Little bit on the top.

I like that idea, that blue and white with just a little bit of red on it.

Oops, a little more blue.

The little roof, oo, the minute I put on that roof, I realize that there's a little see-through right there, so I'll put some of the green on, I ran a little fast.

It's the same green that's back there.

And there's a little bit of dark, so your Paynes Gray and the Permanent Green Light just a little bit in there so that's not totally open.

Let's put just the smallest touch of the Quinacridone Rose and Burnt Umber.

Just a little bit of start on the shadow side of that.

And then I'll take a little more of the rose straight and push over here.

It's such a nice feeling with all the flowers that you have in Hawaii, that we include them on our painting.

Okay, I have a couple things that I want to do, one being yellow and white.

We'll place this on in the windows.

Yellow and white.

Boom.

Boom.

And oh, what will eventually be really featured too is just a little reflection down there.

Small amount of light.

I have Yellow Ochre up here so I think I'll use that.

Yellow Ochre and white, and I'll go just a little bit to show where the top of the roof is.

And you have a little bit of the house coming back there too.

I don't see any, but I wonder why there wouldn't be a little bit there.

And there's a little bit on the porch.

We can have just a touch of that yellow and white, Yellow Ochre and white, just the top of the waterfall, a little bit over here, this is another waterfall.

And then as we said, and I wipe the brush so there's not as much paint, there'll be a little one up there too.

But we'll be developing those things.

I hope you've enjoyed part one to "Fantasy," the acrylic stage.

Next week, we do part 2 oils, and then the final quality touches-- part 3.

We'll see you next time.

Thank you for watching "Hawaiian Fantasy."

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