Each sunset moment is magical for the artist and for the viewer too!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Way to go!

We're back for the second stage of "Hawaiian Shores."

And it's going to be finishing it.

We might even make it look good.

Right?

It's going to look good!

Having advanced your attitude-- that is so important in whatever you do.

It's not can I do it, will it work out?

Do it!

Okay.

We're going to put Walnut Oil with a fan brush on the whole canvas.

And you notice as I do this, and I repeat it each time, is that it's not necessarily evenly put on.

In fact, some of this is even running a little bit But no matter, this was my procedure-- put it on, wipe it around so you have less quantity and you also cover it more completely.

There's a little hair there.

It must've been from a previous artist.

I have all of mine.

Okay, now we're going to take and put on the sky a glaze, a glaze.

The difference in a glaze and a Saturday night bath is, the bath covers the whole thing, the glaze covers this area that I want it to.

This is going to be in the sky.

I'll put this on and wipe it around to even it up.

I don't mind hitting across the cliffs a little bit.

I don't mind touching down the horizon and across the sun.

I almost think gee, are you wet?

No, this is been done before, and it's dry.

I don't want any great quantity on that so when I wipe, you will see some of this disappear a little bit.

But it has a good feeling for a glaze.

[soft scraping] Like that.

Oh, I like that, I like you already.

Okay now let's come with a little bit of-- what color are you?

This is 2 Raw Sienna, 1 Alizarin Crimson, and 1 White.

I want to kind of work this in just a little bit.

It gives a little character on the edge of these clouds.

I'll work over in here which lets the palm trees stand out a little bit.

Come down against this.

It works right into that glaze.

We'll take a little bit more of this, put just a little more character up above.

What I advise a lot is, if you have a mirror, and you can reverse the image and look at it.

Another thing that I found was very helpful, I have what is called Zoom, kind of like Skype, Zoom, and I put it on where it says start with video, then all of a sudden I can see on my screen my picture.

So it's enlarged, you don't have to worry about a mirror being the wrong image.

Oo!

There's so many innovations that help the artist these days.

Okay, let's go ahead and put on just a little bit of blue, I have-- what color are you?

You are blue and Payne's Gray, equal parts.

I'm just going to touch a little bit in there.

Maybe just a little bit more blue.

That's good, kind of a grayish blue.

Just a little bit of this showing up there.

It'll come down slightly, and it puts a focus on the area that we're looking at, which is the sun.

There's no competition for a sunset with the objects over on the side.

The sunset is the primadonna or in opera terms, the diva!

You're the diva!

Then a high sounding name, supernumerary, is just a bit part.

So we have a diva and we have supernumerary.

Let's go ahead now, and I want to put on the sun a little stronger than it is.

It looks pretty good, but we'll come up a bit.

First what I'll do is just wipe a little bit.

Okay, now we have room for the sun.

You are Yellow and White.

Let's add just a little more White to it.

We'll come down here.

So that is going to be about 5 White and 1 Cad Yellow.

And I'm going to use a knife on this.

But when I do it, I'll fill in the whole knife rather than just the corner.

And I'll pat this on just the way I patted it off.

And if this looks a little more dramatic than the original... Yea!

Let's go to touchdown.

I'm blending this with the knife around the outside, and you notice to see inside, I haven't touched yet.

I'll come down a little bit.

It has just a slight bit of character on it.

Like that.

And then I'm tempted, and because I'm tempted, we'll see what happens if I take pure White.

Are you pure white?

Pure White, And I'll do just the smallest amount of that right in there.

See, that has a real glow.

Doesn't it?

And here's the thing.

Why not?

I'll take some of this early color that we put around the clouds, 2 Raw Sienna, 1 Alizarin, 1 White, and I'll come down on the horizon.

Aw, and we'll come through there.

I don't see this on the original.

But why not?

Okay, now watch how I load the knife, just on the side, I'll get a little bit more so it's just like that.

We'll come down, straight down.

There's another way of getting straight down.

See my little finger holds the edge of the canvas?

So I can measure, measure, measure, measure.

Those must be straight.

One of my favorite stories is, I was down at the beach, the sun was coming towards me as I went along the ocean.

And then I was looking out the window, and I saw-- this is when I got back home-- and I saw this jogger coming.

And I thought, he's not in the sun!

Now he is, now he's out of it.

But it's always the light goes to the viewer.

So it was to him all the time, and it was to me all the time.

In other words, one time I painted a person standing on the beach looking at the sunset, and I had the sun come down to him.

It's to the viewer!

You don't have the choices.

Okay let's go ahead with the palms, the fronds, the palms.

I have, this is Viridian green.

I wonder if that'll be, I think that'll be good enough just to put on.

It's got just a little color in it.

And notice when I do this, I don't completely cover the whole thing, so you get a little feeling of the accent of what was already there.

It adds just a little edge of color, so you have the dark underneath, and then you have the fronds.

And as I go out a little wider, it truly is making them look like they got some form, that they're blowing in the wind a little bit.

And here.

Okay for that, we'll leave that.

We'll come down to the cliff, and what I want to do on the near cliff is taking some Raw Sienna.

I'll start with just straight Raw Sienna first.

I have a flat brush, small leaf brush it says.

Oh, gee, I like what that does.

And see, it's a building process.

I intend to come with more light on top of that.

So that's what I mean by a building process.

You put a little bit out here, not much, we already have a lot of character in that from the first week and then the Alizarin glaze.

I want to take Raw Sienna and just come down along, and I use my little finger as a guide to be steady.

So you have a little light on the trunk.

All right.

I don't like that as much as I would like, what I'm saying is, I'm using a little of the Van Dyke Brown and the green.

Right in here, this is just a little weak.

Let's try some Van Dyke Brown.

Okay, so we've just placed this on, and what I sort of want to do on that is to take and to just wipe just a little bit.

And this is my way of blending it out, when I say wipe a little bit, removing just a little, spreading it out slightly.

Then we'll come with some highlights.

I'm going to go back, I like that pink so much, so I'll pick some of that up.

That's the 2 Raw Sienna, 1 Alizarin, and 1 White.

Now, this is not the color that I see there.

But I want it to match this.

I think we're a little more copasetic-- I've wanted to use that word all week-- for putting on the highlights.

And see, we've made this a little bit brighter.

We put light on the horizon.

And we've just done what needs to be done there.

We'll take a little bit of this, as we've said before, between, between the cliffs.

I'll put that on then blend it with this real old brush-- but a good one!

(Buck sings) ♪ Mommy gave that to me back in the 1900s.

♪ No extra charge for the music.

Let's go a little bit there so we have the unity of that color all along there.

This can be just blended a little bit.

Just slightly touching it.

But that really is a nice step down to what the center of stage is.

Now on the center of stage, gosh, I haven't mixed up any color for that.

Let's take and move this, We'll take a little White.

I'm going to first put a value on this, just a little lighter before we go to the lightest one.

So this is-- where did I use that before?

This is from last week, I guess.

It's Phthalo Blue and Payne's Gray, equal parts.

Then you add 4 White to it.

Now we are just adding a little more White.

This will be quite light, but it will give us a chance to build to the lightest light.

Oh, gee, I like that.

And see, this is all dry.

I did put the Walnut Oil on, but it's essentially dry.

Let's blend just a little bit.

I think what I'm doing on this one instead of the original is, I'm holding back a little bit on the lights.

This is the original.

Those lights, they look good, but it's just a little more true if there's kind of a gradation.

That's what I mean-- see, this is lighter, it blends a little bit, and then you have the other.

So you have about 3 values there.

There's practically nothing up there.

It gives you such power, a great feeling, when you can just create the big wave.

I remember going down to the ocean once, and here you have the disgruntled surfers coming back.

"Oh, it's just a duck pond today."

That's what Winslow Homer once said-- "It's just a duck pond today."

But if you go down and lay down, then those little 2-inch waves look huge!

So you can use your imagination, and you can use your skills and create.

You have no excuse.

A little bit on the back one here.

You know what I like about that?

There was just a little pink from the glaze down there, and I like what it does to that edge.

It's fun to discover things, even though you know how to paint, it's totally a world of discovery.

This one, I like where this kind of bends a little bit, and it shows you some of the distant water.

Okay now, this is good, this is good, this is good.

We'll take this over with a little line here, and a little bit on this one.

Okay now, while I have the paint on the brush, I don't have much, I've been using all of this.

Now I'll take, like I say, not much paint on the brush.

Let's just push it up so it looks like the trough of the wave has some foam in it.

I hit that red, I like that.

I'm glad I did, I'm glad I did.

Down in here.

This one, come on, come on-- perfect!

I like the way that red works out in here and in here.

I believe what we'll do, we'll blend this first, we'll add some highlights.

Then we're going to have to come down with some of the sun area, I think.

Okay now, let's go just on the rocks little bit.

We don't need much on them.

We'll take the same pinkish tone, the 2 Raw Sienna, 1 Alizarin, and 1 White, and just a little bit brighter on some of these.

Then what I want to do on the rest of them is come back with the Van Dyke Brown and make sure I have a good filling in on those.

This one down here is the largest one, so that's strong.

That really protects that corner.

Just like a basketball assignment-- you say, now you watch that corner so no one comes around that corner.

Or is that football?

I guess it could be both.

I played both in a small town.

Thank goodness everybody got a chance to play.

Whoever wanted to play-- it wasn't quite that easy, but it sure was great.

Love my high school experience.

Even though we had to walk 10 miles-- no, we didn't walk 10 miles to school.

Went to a country school the first 6 grades.

We would walk a mile through some pretty tough moments.

I was telling yesterday, I don't know if it was on the other show or not, but we would listen to the radio and say, okay today, this was in high school-- school is closed because of the storms.

So we'd go outside, grab a shovel, clean off the court, and play basketball outside.

Oh, that was so much fun!

Okay, let's see what we have here and there.

What I like a little bit on those two is, and I'm taking some of this first blue color, is just here and there, a little bit of the foam coming off the rocks.

Yeah, that really settles them down and in.

Okay now, I need to go back, and I'm going to take and blend this just a little bit.

Watch the trough.

Okay, now let's go lighter.

So I have Yellow Ochre here, and I'm going to bring you down here, and I have White.

So I'll take a little Yellow Ochre, if I were to say how much I've used I would say 10 White and 1 Yellow Ochre.

Now this will be kind of my final light on the foam.

See how that builds?

I really like that.

I like that better than the original.

Oo.

Don't get carried away, Buck.

If I feel, and I do, just a little bit of a need for this to soften a little bit, so I'm taking a little bit of the same blue foam that I used and working back into it.

That's going to work.

Then it's not quite as offensive where it's taking over the whole city.

Let's put some of that little light back in here.

And then as I suggested, I want to take a little bit of the Yellow and White.

Before we do that let's take some of the cloud Alizarin color.

This is what we have here.

Then let's put with the knife just a little bit of highlight on that.

If somebody says, oh I like it the way it was better.

So that's all right.

Be brave, experiment.

I'm taking some Yellow and White and this light red color just to make this horizon just a little softer.

Keep wiping so I'm working only with what's there.

I don't want that to go too high, so I chose to use the finger to make it work.

And let's take, I have some of this.

Let's see what happens when we put a little in there.

You really need to say that the ocean is kind of a mirror to the sky.

So this is really correct.

And I think it gives a good feeling to it.

I'm going to take just one small sweep of a brush over in this area.

This is just a little sharp.

Okay now, I better come back with a little highlight on that.

I've chosen a palette knife to do that.

This has been so much fun because I've learned while teaching.

That's always a great reason to teach.

Give your best and you certainly work out doing yourself and others a favor.

♪ I believe in miracles.

And I hope you believed me in producing one today.

Okay, we'll see you next week, and something new, so be sure and come back.

Okay?

Thanks for watching.

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