After having taught in Hawaii for 8 years, I've come to love it!

But it started after the first visit!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ All right, we're ready to go.

We're going to do part one today, but before we do so, I want to show you the finished product of "Hawaiian Shores."

We'll set this down.

What you see on the left easel is the halfway stage which we will arrive at today.

We have a canvas that has already been primed with Cadmium Red and White, so you have a nice pink.

You could use a variety of pinks if you want, Alizarin Crimson and white, or Cadmium Red Light and White.

It's all up to you.

So I'll start by taking a fan brush with Walnut Oil.

We'll just kind of sweep across this so that the paint goes on a little more freely when we do it, and we can control it.

Because some of this paint, we want to put on thinly enough so that you see through the second application.

You will make use of this priming of the canvas.

And I really need to emphasize that.

If you have a canvas and you prime it, make it benefit you.

Some people like painting on white, I like painting on a primed canvas.

All right now, down to the palette.

I'm going to dip first in Walnut Oil with this fan brush, and then come over, and I have a mixture that is equal parts of Yellow Ochre and Burnt Sienna.

This is going to be kind of a scrub in there.

It's not what you'd call a Saturday night bath because we're not covering the whole canvas.

It's merely put on so we can work into it.

But you'll find, and I'll do it a little bit in the cliffs, That we can work into that too.

And notice of the drawing-- that has been done with acrylic, and it's dry, so I can see through this application and see my drawing.

You can do the drawing as lightly as you want just so it benefits you in your being able to see it when you put on the next color.

And as I've said before, sometimes I've done stage one, which this is, with acrylics, and then come later with oils because I don't want to wait around the shop-- let's go painting!

Okay, so that's done, now the next thing I'm going to do is wipe just a little bit where the sun is going to be.

So I'm on more of a dry part.

Let's see, if I go straight across from the palm tree and then down.

Straight across and down.

So this is where I need to be.

I'm sure Hawaii thinks they have the most beautiful sunsets in the world, but we have some great ones in the United States!

Oh!

They're in the United States!

On the West Coast, the East Coast, it's all up to the viewer to see that.

Alright now I'm going to take, this is Yellow 4 White and 1 Cad Yellow.

This will go in the sun area.

When I say in the sun area, I'll stretch it out quite a bit, blend it out quite a bit.

I use that corner of the fan brush, kind of mush it down and push it around.

[soft scraping] Oo, and you can see as I push it around it doesn't have the same impact as where the sun itself is.

Of course, we'll be addressing that further when we come to next week.

[soft scraping] Okay, because I have that glaze on the surface there, the Ochre and Burnt Sienna, then I can blend a little bit of this just by pushing around like this.

All right, now I want to take just a little Cadmium Orange.

And this is-- let's see, what should your proportion be?

Let's take 1 Orange and 1 Cad Yellow.

No, actually what I'm using is 1 Orange and 1 of that 4 White and 1 Yellow, that part.

I hope that's not confusing.

This doesn't show much but it will show up a little bit more as we put other things on.

This is just the neighborhood-- yellow and orange.

Okay, so now we're ready to do the top corner of the sky.

And what I want to do on that, I will also include as we come down on the right and over on the cliff.

This is 2 Ultramarine Blue, 1 Black, and 2 White.

I have out there, then I'll just mix it together and hope that it works.

If it doesn't, you'd change it.

But it worked... again.

Okay, so I'm using a lot of the fan brush because it does it quickly and very nicely.

I'm going to push in the corner there, wipe the brush so that I work with essentially what's there rather than have too much.

What I like is, you can see a little bit of the background through there.

And I like that kind of making use of that so it's a little bit more of what you might call broken color.

I hadn't intended doing that, but as I'm doing this, I'm just absolutely pleased with it.

Now, I'm going to come down lower.

[soft scraping] Let's see, there's-- yeah, there's going to be a cloud that will come in here a little more towards the brown and Burnt Sienna.

So I won't let the blue come down all the way into it.

Be sure and hit the sides.

And then what is nice, I can use this same color on the cliffs.

And when I'm doing this, I'll come down to there, then I'll wipe the brush.

I want to have this thinned out more because I'll be using the same thing lower for the nearer cliff.

The one thing I like about the Hawaiian cliffs, oh my goodness, they go way up to the top of the sky.

[soft scraping] There, there we go, there we go.

And this is a little different.

I look over at that and I can feel just a little more bluish in there, but I can do that in the finished product.

This, the more simply my palette is, the better.

[soft scraping] Okay now the stronger dark, and even when I do that, it's not just totally solid but it does have a nice dark against-- can you see that little difference there between the two?

I'll wipe just a little bit so maybe you can see it more.

Just comes right down to the back of the big splashing wave.

And of course, there will be character placed on these before we finish.

Right now, the character on them is going to be achieved more by wiping than by adding So what I'm referring to is, you add-- wipe-- make up my mind!

[laughs] So I'm going to go ahead and wipe a little bit for starting the character on this.

Both of these.

And often what happens when you have two things right close together-- we've done this with waves against cliffs and so on.

You have it a little softer right where they meet, so the one sets back more than it did before.

Okay, let's go ahead, since I'm up in that area, Let's go ahead with the palm.

This is Van Dyke Brown.

Oo, do I like you!

And we'll have just a little bit of the fronds coming out.

All fronds on deck!

Just add a little bit of character to it.

This one goes there, and then these are coming down.

I'll just touch them a little bit, and we'll make that just a little bit wider.

Good job, brush!

Here's the next one, still the Van Dyke Brown.

I like the height that it achieves.

I'll put these in, and then we'll brush them just a little bit for character.

Okay, ♪ brush a little bit for character.

♪ I wonder if there's any rules?

Can an artist sing while he's painting?

I mean on TV, I don't mean at home in the studio.

Of course you can.

So you probably would say, Buck, just paint.

Okay, okay, thanks Barb.

All right, right like that, that gives us a good feeling.

This one, I'm going to take just a touch, a finger of the blue and come in there.

So what I did there, I just wanted to shorten that frond a little bit instead of coming down inside.

Just touch there-- it's a small thing, and on the one we are going to work on next week you can see that that's already been taken care of.

Okay, so let's go down to the water We'll have to come back to the sky a little bit, but I want to make sure that we get this in.

So here we have, what do we have?

Water!

What color are you?

Blue, and you're black.

So it's Ultramarine Blue and black, excuse me, Payne's Gray, equal parts.

And we'll put this down in here.

Boy that's dark.

Isn't it?

I'll work into that so we lighten it a little bit.

[soft scraping] And what I'm going to work into it a little bit with is some Viridian Green, Viridian Green, I better give you the formula.

Okay, I have Viridian Green, and let's try some White.

Let's try half as much White.

That's too much White.

So I'll double it.

So I'm having 4 Viridian Green and one White.

This is going to go down below.

In other words, this is called the trough of the wave.

We'll put some out there.

Take your time, and do a careful job.

I'm talking to you, Buck.

Well, I'm talking to them.

Yeah but, practice what you preach.

Oh, okay.

That's good.

I think the first dark I put on in the water was correct, but it was a little generous.

So we still have some time left to do this, I'm sure.

Now I'm doubly sure.

That's really beautiful.

And look at the contrast between this and going up.

It really has great promise.

More of the green.

There's so much action in the water, and you want to make sure that it happens.

And always be conscious of what you are painting.

If it's rocks, make them feel hard.

Usually that is with sharper edges.

If it's foam, make it soft.

I find the biggest complaint that I have is when they put the foam on, it stays so sharp.

But gee, when you actually stand in the foam, it just flops over you, it's not hard.

Okay, more of the greenish tone down below.

[soft scraping] Um.

We may, oh, I don't think on this one, I didn't put the dark in first right up there, so we'll put it in second.

Here's another way of doing that is, I'll fill this whole thing in with this green, and then I'll work the dark into it while it's wet.

And you can see in some places I want the paint to be felt through.

Now down here, that isn't necessarily true.

When I put on the foam, it will take care of a lot of that.

So what we said here, we put the water color in, but now we needed to come with some of the dark.

This is the blue and the Payne's Gray.

And this works quite well too.

What it will do when you do it this way is, it ensures that you can kind of have a degree of softness in your dark, because it's not on the dry canvas.

I almost prefer that the more I do of it.

But I'll take one look out at what we've done and decide if there's any adjustment needed Like here-- I want to have that darker over in there, and a little darker over here.

What about out here?

No, that's pretty good.

Maybe just a little further up with that so we get a splash going up against the cliff.

Not so much here, I'll blend this out so you feel some dark, but not necessarily a lot of character on it.

Okay, now we are ready to go with the next one.

This is putting the rocks in.

Let's see, should we put the rocks in?

No, let's put the foam in first.

And I've said this before-- when I put the foam in first, then I don't have to worry about wet rocks.

So when the foam is in, the wet rocks can push out and you attain their character and let it dry.

Otherwise, if you put the rocks in first, the foam, you are apt to touch it a little bit.

Okay, so here goes the foam.

Foam first!

That almost sounds like a riddle-- foam first, foam first, foam first.

Here's blue and Payne's Gray What do I have?

I better check that because I'm not sure on the formula.

There is one blue, There is one Payne's Gray, then let's add White.

That looks good.

So you have equal parts of Payne's Gray and Ultramarine Blue, then about 4 White.

I'm taking this with my fan brush.

When I put this on, what I want to do is to go up a little bit past the outline.

You use a small amount of paint as you do it.

And this will go right up, let's see, this is the rock.

Oh wait a minute.

Are you?

What are you?

You are foam too.

Okay.

And this goes up quite high And notice by having a little less paint on the brush, see the nice edge that I achieved there?

I keep wiping, so I'm just using a little bit what's there.

And I want to come down slightly on here.

This is one seascape where we don't have a big eye.

I wonder maybe, the model doesn't have it, but maybe next week we'll add that in.

It just seems like a nice eye would be advantageous.

As I put this across, I try to put it, I've just done it, kind of a broken line so that it isn't just one parallel line going across.

You have a distant one here which does two things-- it splashes up a little bit in the cliffs, and then you come across, again considering here and there rather than just one long line.

Down below... the foam.

And they all have just a little bit of a taper on the edge as it goes full against the rocks, then it sort of tapers away.

What I have over on this side is kind of a second one that is just starting to rush in.

I think I put you in the wrong place.

I think you're supposed to be back here.

We can have you, and let's take and say just in case if you make a mistake, wipe it out.

I'm going to have that kind of narrow, like that.

There's no mistakes, there is just need to correct things.

Another one here, and this slithers in against the rock, which is nice.

I'm going to push up the dark a little bit to vary the width of that line along there.

Then these all sort of come down.

What I think would be helpful, I have the same brush with some of the blue on it, and I'm going to just push this on a little bit as the trough of the wave.

It'll be just a little bit better than leaving it that dark.

This already has some, so we're okay there.

Okay the next, almost the final thing is, we want to take some Van Dyke Brown and go up on the rocks.

I love doing the rocks this way because see, I can make little indentations and so on as I wish.

And they are, they are there because you're not going to come against them with the blue.

Oh, what did I do there?

That has just a little-- and I didn't notice that.

It has a little foam on that side in between there.

Does it have any more down here?

Yes, there is some down in here too.

Okay now, I will come back with the Van Dyke Brown.

Gee!

Van Dyke Brown, Van Dyke Brown.

Then what we want to do on the rocks-- we're almost getting to the go-away point on this week.

What we'll do is take a paper towel, which is a nice soft paper towel, and we'll wipe a little bit of character.

It'll just give a little dimension to them.

And I'll do this-- well, I already did that a little bit out here.

Didn't I?

Yes.

Okay so, I'm going to take just a little sweep as we say good-bye, just a little sweep in there.

[soft scraping] We'll bring this a little closer.

So that's it for this time.

Be sure you come back next week, and we'll go on with "Hawaiian Shores."

See you then.

Happy sailing.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...