In the library of my mind there are many volumes of memories.

Most of them are filled with fantasy.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ A journey begins with the first step.

The first step today is going on top of our acrylic painting which we did last time.

And our first step is going to take and cover that with walnut oil, so I have a large brush, one-inch brush, dipping into the walnut oil, coming over to the canvas.

This is all dry acrylics paint.

Oh, I hope that you saw it being done.

But just realize as you look over to the left, we're going to try to equal that today and then we have a third stage.

So I'll wipe this a little bit.

Gee, paper towel, you're not dirty are you?

Wiping just a little bit just to smooth it out, make sure that I know how much oil is in locations because I want it to be controlled, not too runny.

So I'm ready to go ahead and paint and I'll start with-- let's take the fan brush.

I have some Anthraquinone Blue and white.

And this I intend to put into the sky.

And when I put this, initially it will go into the light area as well and then I'll sort of wipe just to smooth it slightly and then wipe harder to return-- where are you?

Return the cloud, but if it doesn't want to return, we know ways of encouraging you.

We'll take just a little white over here and just add into it and it'll be light enough.

You know, I think really what-- it just wants to be noticed a little bit more-- its turn on stage.

Let's come down to the cliff, and I'll take a flat, you're not flat, you're filbert brush.

And I'm going to use the Anthraquinone Blue and white, but I want just a little bit of its cousin into it, that's the Turquoise Blue.

Always as you do this, you're aware that you have the opportunity to make use of the previous paint that's on there, the acrylic paint.

So as we come out against the sky let's just go up a little bit.

See the little sharpness?

You have those a few places that sets it away from the sky as well as from the background hills.

Once I have it on there, I'll just take and blend, which means you're making use of some of that previous acrylic.

Not necessarily that it will be that color, but then it'll be dry and when we put something on, it'll have a little more identity.

Coming across, we'll go over the bridge.

I'll pick up some more paint.

This is again, the Blue Anthraquinone Blue, white, with a little bit of the Turquoise Blue in it.

I kind of hesitantly speaking, because I need to go darker!

There you are.

You just check those little things.

Now, notice even there as you look at it, see the little variety of blues?

They all enhance what you're doing.

Okay as we go up above, I will go again with the Anthraquinone Blue with a little touch of Turquoise.

I like the aspect of kind of brush mixing.

It just works so quickly and so well.

You don't have to clean the brush a lot.

You're working with only what's there.

Now as we go to the corner, the right corner, that has to be a lot darker, so I'm wiping the brush, picking up a little more of the straight blue.

You're crooked, you're straight.

Just a little darker.

Yet it's far away, so we make sure that valuewise we're correct.

What I mean by that is that it's darker but it's not as dark as the near things.

Let's go on the inside, and we'll take a little bit we used earlier for the sky, the blue and white.

I'll go just a teeny little bit darker-- I think.

Yes... perfect.

And same way here, even though it's slightly seen, you can put a little bit of character on it.

It doesn't compete with the darker ones which are closer.

Now besides doing this to that area, if I want to I can just wipe a little bit.

It removes kind of the excess, makes it look a little more misty in there.

This one isn't quite dark enough.

More blue, we'll just make sure we have a nice edge along there.

Oh, thank you, that's much better.

Okay, let's go to the tree.

We're kind of coming down again on this.

It's an easy way for me to do it, easy way to teach, and I think easy way for you to follow.

With the tree, I have-- I need to clean my fan brush, dip it into the oil.

Just pull off wiping it that way, that removes most of the excess and then you can do it either again or just come off the edge a little bit.

And I don't have to have this perfectly clean.

This is green, Permanent Green Light and Paynes Gray.

Let's see how dark you are.

A little too dark, I'll use you down here.

And now because I have this on, I can kind of push a little bit of character with this color early.

Oh, it's so much fun to do the shows and to have 3 times on this show, it's so relaxing.

I would hate to feel oh, we need to finish it this time.

It'll look very good, then we have a surprise for you next week.

You must come back for that surprise.

It will surprise you.

The above area foliage, we mentioned it was just a little too dark, so I have just a little white with it.

Let's see.

Well, I can hold it over there.

Yeah, that looks good, Yes, see, it's just a little lighter than down below.

As we've stated before, you're sort of allowing some of the previous color to be a part of the finished scheme, so we have no need to cover all that green.

I'll use some of that.

Then here we come down, just poke out a little bit like this.

Now let's take the same green while we have it.

That sounds like a cowboy, doesn't it?

"Zane green."

"Zane Grey."

I'm using the same color from above, but it now becomes the highlight on this bush.

Okay now, let's leave this just a minute, this area.

We'll come over here.

And let's take the darker green.

This was what was done on the bush to the left.

I wonder, do you want to use me?

I'm a fan brush.

Last time you used the flat sable brush or the Badger filbert.

Yes, you did a good job!

I want you guys, when you come out and you're ready to play ball, I want you to be able to pitch, I want you to be able to catch, and I want you to be able to hit.

Oh, that's pretty.

I love that little character there!

Great.

Okay, let's go just-- we'll jump up here, and I'll take again the green and the Permanent Green Light and this one happens to be just a little darker, sort of like that, because we have 2 values to put on here.

We have the darker green and then we'll have a little highlight here and there.

Now, remember again, the underneath priming is allowed to be part of the color scheme.

This is Ultramarine Blue.

So in putting this on, you're going to have areas where the blue shows through, and I like that aspect.

That's why you do it.

So it's not a true monochrome when we have put this on.

A true monochrome is just taking one color like blue and making it lighter, lighter, lighter.

So you have that whole scale just there.

We've added color to ours but a lot of it is with the blue and white.

All right, let's leave that jut a minute.

I think what I'd like to do next would be to put some paint on the back cliff, and what I'd like to use for that and I'll use the fan brush but-- oh knife, you're supposed to be over here with the rest of the team!

Let's take Quinacridone Blue, that's not Quinacridone Blue-- you're Quinacridone Rose-- and white.

I'll put just a little blue with it; that's where my thinking was going.

Now which Blue?

Turquoise, you happen to be in the neighborhood so why don't you come over and mow the lawn?

I'll hold this up to where it's going to go on the original.

Yeah, that looks good.

It always makes you look good when you do that, but the purpose in doing it is to judge it.

Not to say, oh Buck, you're so sharp.

Adjusting and making corrections is always part of it.

I remember following a great friend of mine.

She was showing me where I needed to go for a demonstration, so I was following her in the car.

She's such a leader, but she would go and then she'd go down a street and then turn around and go another one.

In other words, she didn't know exactly how to get there, but she kept going until she did get there and I've admired that quality.

It isn't always knowing everything, but you're willing to pursue it till you arrive at your destination, whether it's driving a car or painting a picture.

Don't settle for second best.

It's easy to go down the wrong alley.

Often those little mistakes in painting which seem like mistakes become a technique, and you think, oh that's great.

Now this one, I kind of like that little more warmth than you have in the original, so we'll just let that stay.

Do I need to do anything here?

Yes.

There's a little lighter light there.

I'm going to use the same thing we just put on the hills, but it has a lot of light.

So that's the Quinacridone Rose and white with the Turquoise Blue, we've just added more light to it.

This will be-- I see just a little bit through there, and I see through here.

I'll soften that a little bit and then let this one show.

I need to be a little careful there.

I'm a little wide on that waterfall, so I'm going to narrow it in just a little bit.

Then you let it-- whoops.

Right above too, I need to just blend that so goes back a little bit from this.

Okay, now on this one, after I have it on, I'm going to just spread it out it won't be quite as light down lower, so it just folds into the mist, like that.

Okay, now we're ready to come down to the middle area.

As I look at it, I see some Turquoise Blue and white.

Let's try a little Paynes Gray with that.

It probably needs just a little white.

We'll hold this up to it.

I can live with that.

So I have the badger filbert, putting this on.

I'm covering the purple a little bit there, because this is just a little bit lighter than what was there.

Coming across the stream.

Now where's my bunny brush?

Right there.

Let's take the bunny brush, and I'm going to blend across there.

I'm going to blend there.

Wiping the brush each time, but not cleaning it, even though the colors are different.

Across there.

The real purpose I wanted on this was to kind of blend the middle trees there so we'll go ahead and just-- when I blend those, rather than just blending this way, I'm going to touch with the corner of the brush so it has a little more control in their shape.

All right, approaching the bottom, let's take again some of that dark green, which is the Paynes Gray and Permanent Green Light, that's equal parts on them.

And we'll put it here.

When I place it on here, I just stop there, because I'll need to get that green there before I come over to it, so this will be a nice beginning to it.

Same thing here, I won't go out with character yet.

A little bit back here.

Little lower... little lower Then in the water-- who are you?

You're purple.

Wonderful!

Thanks for coming a long.

You want to go alone or with somebody?

Let's try alone.

Kind of a loner, but you knew what you were saying, you did a nice job.

While I'm down in that area, I'm going to take some white, and this is Turquoise Blue We'll put on just a little bit of the start of the waterfall there and also back here.

Need a little more blue.

There is a danger when you just brush mix that your brush isn't always that clean.

Just adjust it a little bit.

I added just a little more of the blue to it.

Okay, now we need to put on the green.

The green-- let's look at Permanent Green Light.

Oh, you're already there, Permanent Green Light and white and Paynes Gray.

I think you may be a little too dark, so we'll take a little white and I feel just a little yellow too.

I feel better about that already.

See it doesn't change much what's there, does it?

But it will give us something that we can bump up just a little into the above area.

As we go over on the far side, I'm going down, picking up more paint, but it's just a little bit darker than it is on the left side.

And let's go over with the same green and we'll come down under the house.

(soft scraping) And I like to take, I have a little Turquoise Blue here, Turquoise and Anthraquinone Blue, just pull down just a little bit in the water, so you get some reflections and you can go back and forth that way.

We'll take some of that lighter blue we had.

This is the Turquoise Blue and white.

So you're showing a reflection of the water, the waterfall, into this flat water down below.

Now, we stopped short when we cut the blue, the Paynes Gray and green, when we filled this in, and then see, we want to come out just a little bit now with the character on those.

Both sides, a little bit.

I'll take a little bit of the green and the black just to push up slightly in there, so it isn't quite all so solid.

And I see some beautiful Turquoise Blue pushed on here... and then just a little bit on this fellow.

Okay so we better get building that house.

I have the flat, I keep calling you flat, 'cause you look flat.

You're a filbert.

I am an eagle.

This is the Turquoise Blue and the Paynes Gray.

Gee, how come you got so light?

Much better, much better.

That's a little back cabin.

You have a lot of those in your Hawaiian coffee shacks.

A little bit of an underline there.

Let's go up on the roof.

All we'll do is take some of the rose and white, and it picks up a little bit of the blue used previously.

Gosh, I go so fast, then I have to go back and correct it.

Let's see Quinacridone, Anthraquinone Blue.

Yes, that's a better value.

You're not frustrated, are you Buck?

No, I'm just surprised on some of my judging.

It looked good, but it's not great.

Let's take and put just a bit of this rose, white, and blue on the bottom of that house.

I think we could still go a little darker on that.

Yes... yes, yes, yes.

And then what I want to make sure we do is just a little bit of color on that foliage.

So I'll start with the rose straight.

Come over here just a little further, let some hang down there-- that's always is a nice addition when you have some of it come down the sides.

I'm going to while I have the brush, just wipe it, and has nothing to do with red, right above.

Remember that hard line we have there, let's just soften that.

Now what we'll do is put a little brighter red on that.

This is the Naphthol Red.

I have just a touch of white in that.

This is more spotted on, so you're letting color show through it, not through it, but near it.

Between the little touches.

Okay we're getting down just where we need to be.

It's so neat that we got another time on this, and we'll make it real refined.

We'll put just a touch of light along the trunks of the trees.

I'll take, we have white and a little bit of red and orange.

Just... you get a feeling like the light is hitting them.

Um, and this also happens up in the big tree.

See how you have just a little light on there?

You're establishing just a consistency on where things are being lit.

I want to take the bunny brush because we don't have much time, we'll just make sure we just soften as we go away.

So you be sure and watch next time because we're going to make this thing a fantasy that is beautiful.

Thank you for watching.

I'm just going ahead and blending softening some of these darks and all aspects of it.

It looks good, but it will look better.

We'll see you soon.

Bye-bye.

Next time.

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