Buck is back on TV and it's been a long run!

Thank you for watching each step-by-step.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Did you get that subtlety?

Step by step, watch my hands.

They advanced up and that's what I hope is happening to you if you watch these shows.

You're advancing in your art career and the number of emails that I receive say that that is so.

Now, this is called "Inness Landscape."

And there's a lot of artists out there that'll say "I'm paying homage to da Vinci or Rembrandt or Inness," and they copy his painting.

Well this is not a copy Inness, but it is in his style and his inspiration.

What I used on this was two slides.

One slide had a sunset with some trees.

Another slide had trees and a river.

And I put them together and stuck them in and this is what I got.

I just absolutely love it.

The priming of the canvas is 6 white, 1 Permanent Green Light and 1 black, or one Payne's Gray.

Either one it works fine.

So we're going to start with acrylics as we've done before, and we'll start right up in the sky.

I'm going to take, this is Raw Sienna and this is white.

Raw Sienna and white, so far I have equal parts.

Let's just add more white and so your formula, this would be 2, let me hold it up first to make sure.

Oh.

I'm going to go back and add more.

So I have equal parts white and Raw Sienna, and I have a large fan brush, and I've dipped into the water and dipped into the paint.

We're going right up to the sky to begin with, and you're going to see when I show this and if I go over there and you say, oh, it's much lighter, but we will glaze this.

we will glaze this and then you'll see what happens.

I might say that this has been outlined with Ultramarine Blue.

When I outlined the trees, I chose to go just a little wider, so you almost have the right size right from the beginning.

When I come down to the distant trees, you might go just a little softly over them, and then when you put a color on, it'll blend in just slightly.

The acrylic lines will always cover as you use other acrylic over it, even oil will.

Please be careful what you make your outline with.

I think I've told you before, but I went one place and we outlined with a sharpie pen and oh my gosh, there were about 20 in the class, and the next time I came, about 9 of those paintings came back because the ink was showing through, so you wanna be sure you cover, you have something you can cover, and it will stay covered.

Now, as I put this on you're covering a little bit of the tree trunks and the branches.

That's all right, because we want to be able to put them in and just a little in a softened way, so if we get a general idea of where they are, that will be quite helpful for us.

You notice on this painting that the sun, the source of the light, is off the canvas and when I've done this before, I did it one time in a workshop and made it look like the sun was down there.

We had to glaze it down, because we want the sun from up above.

If it were down there, you can see that your reflection wouldn't be where it should be.

So we have the sun in the correct spot.

Over on this side, just a little more faintly done, because you have some of this canvas that needs to be that color.

What I like to do is, when you come down to the trees, let's just say for instance in this one, and I'll point over on the canvas.

It's so helpful to have that model right there, isn't it?

See these little touches?

They will be helpful, it will be helpful if you put them in early.

So let's put a couple over in here.

And right there.

I'll push across just to make sure we've covered that top of the sky and then on this side, a little bit the same thing.

I kind of run down quickly and use the corner of the brush.

I don't remember.

Did I use any water when I first came up?

I think this was wet when I started, but now because the white is rather creamy, then I don't have to redip in the water.

I do have control of this where I can thin it out and make use of that underneath priming.

That's really one of the reasons to put the priming on the canvas, is to get that interplay of one color against the other.

That is really my way of painting.

So when I paint, I would say 99.9% of the time I'm painting on a canvas that's been primed.

Pink, blues, oranges, tan, black, so I just use a little caveat, of maybe I used white one time, but really I kind of avoid that.

I know the impressionists would use a white because they let a lot of the white of the canvas show through with the colors, and that works too.

I prefer adding.

Okay, let's do one other thing before we continue down the sky, and that is, if we get that gleam in very fast, then it'll have time to dry.

Of course we got a week between this, and we're going to have oils that we will come on next.

This is yellow and I think just a little bit of Naphthol Red.

Oo, looks good, but it's a little too dark.

A little more yellow.

Okay I think I cleaned the brush.

If I didn't, I'll do it again.

Okay, then I wipe the brush after I put it in the water so that it's not real wet.

That is really going to be a center of interest, and on this, I'll push it to the right and left, and as I do so, I want to make sure that I kind of eliminate those little lines.

What are you there for?

I guess it's sort of showing where the path of the light is, but in reality it goes a little further right than left.

Oh, George Inness was such a great personality.

I think I've told you this story before.

He was so enthusiastic.

He would sell a painting.

The guy that bought it was very happy.

George Inness would be in the fellow's home and Inness says "Oh you bought one of my paintings, one of my very best!"

And then he says, "Oh there's just a little something up there I need to correct.

I'll take it."

"No!

I like it the way it is!"

"No!"

They go back and forth and finally Inness says, "Just because you bought it, do you think it's yours??"

He was so enthusiastic.

Just love that guy.

He painted from nature.

He'd go study a long time, then sometimes come in the studio and paint from memory, and some of these paintings are done that way too.

You'll remember on several of these series, we painted a lot from pochades.

This one is painted from an original.

So what's the difference?

Well, a pochade is something that's done very quickly on location or from memory.

Then this one is done like I suggested from the two slides.

I'm pushing a little bit of this more orange over just back there.

We'll let some of this darker orange come down on the sides.

All right, now I think what we probably should do, and I will do it, is take the yellow and white.

This will give us our sun reflection.

This is white... and this is cad yellow.

Now, the M. Graham paints the cad yellow is very rich.

Some people almost would have to use cad yellow medium to equal it.

Okay let's see what we have here.

All right we'll take this up and I'll put it here; that looks pretty good.

Then why aren't you going to the canvas?

Let's go right here.

Oh, see how that knife's feeling, and it's kind of a broken step, so there's space in-between is what I mean being broken.

Go just a little higher there, and then I'll take-- there's practically nothing on the knife that we'll kind of push out to the sides a little bit.

I just love doing these shows, and I just love the response from the viewers and so many of them will send pictures of what they have done and I try to make a suggestion, as you do so, send it to me and I'll try to make comments, especially if it's one that we've done on the series, on the shows.

And talking about series and shows, do you realize how long I've been on television?

I did my first show with the Alexander company in 1988!

So this being 2012, that's a long time-- 24 years?

As a living artist!

I know they have some artists where they bring back his work and bring back his work and they've been gone for 13 years.

That's fine too.

But it's such a blessing to be able to do this, and I really appreciate Prairie Public doing it.

I've been with them 12 years.

Okay let's go to the back trees, and on this let's take... you're, what are you?

You're Ultramarine Blue and you are Alizarin Crimson.

Right now I have equal parts, but don't write that down yet.

I think you can get pretty close to writing.

Let's put just a little more blue.

So I have a formula now.

It's 2 Ultramarine Blue and 1 Alizarin Crimson and then white added into it.

Now, this will look just a little cool and gray until we put on a glaze.

The glaze will be super.

This again is using the fan brush and I wet it, cleaned it, and it still has a little moisture in it.

Okay, so I'm starting here, now when I start here, I'm starting towards the bottom of the trees so that by the time I get to the edges I can go just a little more softly.

That's a great color.

It almost looks different on the palette than it does against the canvas.

Why is that?

That is because you have the green, that kind of grayish green there that dictates what its neighbor will look like being next to him.

I'm going to use a little water, more water because I want to be able to push this around a little quicker.

And when you're coming close to the trees, knowing that the trees have to be redone, so I don't mind if go over them just a teeny little bit.

A little softer up there.

Oh, this is so much fun!

I get so excited doing these even though I've done that painting before, which is not always the case on paintings on the shows, but you get just as excited.

I guess each time you hope maybe I can make it a little better this time.

A little easier for the people to understand.

Now watch, see what happens when it comes down against the orange?

It has a nice blend, and that gives you kind of a mystery.

What we want is the feeling of the envelopment-- is that a word?

Of the light.

So as you look into that area, it's going to be very mysterious and just very ethereal.

Okay dip down more paint, more water with it.

Oops!

Now "oops" means what?

Oops means I don't want it there.

That will be a tree there, but it's a distant tree and the distant tree is going to have just a little more blue in it, so let's do that one next.

We'll take just the Ultramarine Blue over, add a little white.

So this is not having the Alizarin Crimson on it.

You can see the difference right on the palette.

Okay, this is the distant tree.

Oh, you're working; you're working for me.

Down in there a little bit too.

And a little bit on the right side... instead of the "wrong" side!

See I'm just touching these, just watching the tops of them slightly.

There's a little blue on that, it doesn't have to be the blue.

Just so that they're soft where they need to be soft.

This is just a little sharp.

The glaze will certainly help on that.

What about you, should you go a little higher?

Okay, clean the brush.

Now we'll take Ultramarine Blue and we'll use water with it.

We'll kind of put on some dark masses.

I'll mix more with that.

This is the blue and water.

So we're coming over here, and this sort of represents the in-between foliage, so you have the sky, you have the distant foliage, and then some that is just a little darker.

No special direction on these, but I might just go like that.

Just to-- If the strokes are too much in evidence.

Let's put a little more blue out because I don't think that we're going to have enough.

Now, down below, we have something there.

Oh, that looks like a rock, and when I come up with it I'll stop just a little short so I can see the top line, Then a little reflection down below.

A little rock out there.

And let's see, what else do we do.

Okay, same color.

Over on the right side... again, there's a little distant or middle distant shrubbery right in there, and then there's dark along here.

It's kind of hard to tell-- and that's fine.

I'm not saying you should be able to tell.

I don't know if that's rock or foliage or a combination.

So I'm going to let it be where you tell me what it is on your canvas.

On mine, I have a little bit of rock, a little bit of land.

Okay now we'll put just a little bit of paint down for some shadowing, some shading into the water.

And this, I am going crossways, horizontal, to help me feel like it's water down there.

What I like to have too, close-by is a paper towel.

You can kind of smooth it with that.

How far does that come into the water?

I guess it doesn't come.

Over on the other side.

It's sort of dark in the lower right corner, and then just a little lighter there.

Okay what will we do now, let's see.

Okay let's do this, let's take, you're Alizarin Crimson and you're Raw Umber.

You were on the bench, it's your turn to get into the game.

I've been on the bench, I've been on the bench and I've been in the game so I know what it's like.

Okay Umber and Alizarin Crimson equal parts.

And the brush we're going to use here, I'll take a couple brushes-- I have a round one and a flat one.

Both of them will work, so we'll fill them both up but now you have to separate.

So I'll take first, this is the round brush, and when I'm up high, I don't want to put much on, but when I get lower then I push, you can see how it flattens out and get the width that you want.

It's all in the width.

Oh, I'll use the larger brush for this one.

Now I'll still use the idea of a thin line, but when I come lower, it had more spread-- spreading quality.

The important thing on the limbs is, you want to feel like they move and they have that flexibility.

Where did you come from?

What color are you?

I must have picked up a little blue when I was over there.

I like that!

Thank you.

Now, on stage two when we do the oils we'll be doing more little branches up there, so there's no reason to duplicate that right now.

Let's come again, this is still with the two brushes.

This is a large tree-- I do need to have this one be larger up there so it's not just cut off-- and then a couple little branches.

See, you just have a move gracefully and when you put these little lines out for the little branches, make it so it's not just a tuning fork.

What I mean by a tuning fork, it goes out exactly the same size-- two sticks here two there.

So we're doing fine.

We're just going to add some more of the trunks in.

Let's put this one in.

And give it little arms like, but like I suggested, there's going to be a lot of extra branches on these and they will come more in the oil when we've done glazed it!

This is the largest tree, the one over on the far right.

And you know, as you do this, what you might even find is, if you let just some of the little blue show here and there, it's very attractive.

We'll let this come down.

Come on over here.

I'm going to put just a couple in here, then there is a distant tree here.

No, You're not distant, you're a large part of this one like that.

We have one more in there to do then we'll kind of analyze on what we might do to further, in preparation for the oils.

Oh, it's so neat to be a part of the painting world.

And you have a right to paint whatever you want.

I have a son who's very interested in art.

He's a motivational speaker and he's painting the drip method!

I've done taught my kid how to paint!

But he is so exciting, because he gets such good feelings on what he's doing and he has such enthusiasm and studies art across the country and so on.

So you paint the way you want, and don't let somebody say you shouldn't do this and you shouldn't do that.

You know, there's certain rules-- here you wanna kind of have a balance, that'd be nice.

For instance, when we're talking about the sun itself, coming up here, we definitely have to have that in a straight line-- there isn't any justification for making that wrong.

So you can use nature correctly, but you can use it to your advantage.

We don't have a lot of time left, but you be sure you come back to watch stage two.

I just love this!

You know when I first started in 1988 we'd do 13 shows, 13 different shows, 24 minutes to do the whole thing.

And some them were done a little fast.

I used to have an agreement with the art company, the Alexander art company, that I could destroy that little model when I finished painting it.

And that gave me some confidence that that wasn't out there corrupting the country.

Let's see, we need to have a little one here.

Okay now, let's kind of look, we have a little bit of time left, a couple minutes.

I think that's pretty close.

I'm going to-- just going through the highlights, I'm not going to remove it, but I'm just going to flatten a little bit because the real highlight you would expect to have happen with the oil.

Oh gee, this is great.

Now, let's see if there's anything else.

When I look at it, I feel okay, we could be just a little darker in, for instance down here-- and notice just the little time frame that we had, it's already set up enough where I can do this, and I have good control on it.

And then let's go over on the other side, the other side of the canvas.

Okay that's pretty good.

This could be just a little darker down here too.

What this does, the darkening that, makes it so your eye is focused in the middle.

I think that's what's so important that you kind of lead the viewer to where your center of interest is.

But you're going to come back next week, and we're going to have such an important progression.

You see the two, this is exciting but that is quality as it should be.

I'll go just a little higher on this side with some of the blue.

I see some of the back ones are just slightly like that.

So we'll see you next time.

Thank you for watching!

We'll see you soon.

Bye-bye!

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