When I told Claude Buck that I really appreciate him he said, "Every time you paint a great painting you show your appreciation.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ "Island Magic," we are ready to do the oil stage.

And this is going to be exciting because it's a first time that I have done it anywhere!

So I wanted to show the pochade.

The pochade is such a neat little painting.

It was done, it's 9 x 12.

It's on a Masonite board I think, yes, and it was done basically from memory and imagination.

Having been to the Islands and having seen waterfalls, It's great.

So if we go back to last week's work which was done in acrylic, you can see we have sort of a gray scale, and that was a lot of fun, that was new because that was totally out of the air at the last minute to do it that way.

Now the exciting part is to find out how to paint that, and if it makes it a little different, so what?

It's my painting!

I'm working from the pochade-- what I end up with is going to be beautiful-- you stay and watch.

So we will start with some Walnut Oil, I dipped in with a large brush, and I'm coming up to the canvas and swish this around, and because I'm going to use a paper towel to even it out, yeah, that's exactly it-- even it out, then I don't care if there is a little extra in certain spots because it will even out very quickly.

This might make the painting look a little fresher even at this stage, but it's essentially so I can put a glaze on it which I call Saturday night bath, and it just kind of melds it down a little bit and then when we put oil into it it has something to blend into.

Okay, Alizarin Crimson.

This will shock you-- be ready for the shock!

Oh gee, oh gee!

Sign it!

Not quite yet.

Okay, same principle-- we will take and spread it around a little bit by wiping.

This is a good paper towel.

Be sure to eat my breakfast cereal that I recommend, use the paper towel I recommend.

I'm not recommending anything except do a good job.

Can you see the difference between this and this?

This is before, this is after, you have the little Saturday night bath on it, but there's no rule because I made the decision how to do it, there's no rule on how much you use.

You can have less, you can have more.

Okay, I'm going to call that not quite enough wiping off yet.

Now on the wiping I'll be a little bit more.

I'll decide where I want to wipe more so it won't be an even amount of wiping.

I'll wipe a little stronger there.

I'll wipe a little stronger near the trees.

I'll wipe quite hard on the waterfall.

See, you can see what's coming off, can't you?

Over here and a little bit here a little bit more underneath there, what about there?

That's about right, so there is a lot of places where I didn't wipe.

I wiped in the sky because I want that dryer.

A little bit near the trees on the waterfall and at the splashy part down below.

Okay, now we'll put that brush aside.

You've done your work.

And I'm going to do like I've done before.

We'll start at the top and sort of work down so you get an idea just how it progresses always with the idea that you can go back and put in a little more work.

We're not calling it finished as you leave one area.

So I have a fan brush... love the fan brush!

Okay, so let's start up in the sky, Viridian Green and white.

When I fill the fan brush, I pretty much fill half of it because when I come up I have more control if I have it this way rather than the full moving around.

You might find one way works better for you.

I'm wiping the brush a little bit so I work with what's just there.

I like this idea where I'm going to take and come down just a little bit across that edge so that when I put paint on that edge I have something to blend into, and this is what I'll use.

You are, let's see, this is Phthalo Blue and Payne's Gray and a little white.

Are you equal?

Yes, you are equal.

That may be a little dark, I'll check it out.

Huh!

Just right!

I'll push this around knowing that the little branches can reach into this, so I'm not overly careful as I put that on.

Come over to this side, come down through the middle.

[soft scraping] Now the little light I had before in there I'm going to add some back in but there is another way of doing that too, and that would be if you take a paper towel and just wipe a little bit you know, make it a little lighter but it also makes it if you wipe a little bit you have more control when you add other paint into it.

Okay, let's come over here.

Oo!

[soft scraping] I love that feeling of distance that will happen down in here eventually.

We'll put this on, and then we will address the cliff or the mountain touching against the sky.

[soft scraping] Okay, we will do that right now.

I'm going to change brushes.

I'll hang onto the fan brush but I want just a little bit.

This is a flat sable brush so I can make sort of little vertical strokes.

There, distance trees, you know.

And on this side.

What would probably be wise would be to put that highlight in the sky so that when we put the trees up we don't have to work around small trees.

Okay, so let's see, we used this color which was Viridian Green and white.

Let's come over here, I jump down here.

This is Yellow Ochre and white and I have just a little bit of the Viridian Green on the brush too.

So this is where it will be the strongest.

Huh, that surprised me, I'm going to use more, just a little bit stronger.

There you go.

Then I'll let this kind of rise up like you have a little cloud there.

As I said, when we were doing the acrylics, it's not the sun, so we don't try to have it real bright.

Okay, then I'll come back with a little bit of that blue that I was talking about with the flat sable brush.

Particularly down close to that area.

Let's take some of this color which is Phthalo Blue and white.

Do you have anything else in you?

Nope, just Phthalo Blue and white.

I'll push this in here, and then I'm going to push... [soft scraping] right across there.

And while I have some of this on the brush we'll work just in between the tree branches slightly over in here.

I love the mystery of that tree.

That one, that's a good one.

Now here, I think that's alright, but at the same time I'll wipe just a little bit to make sure that I'm pleased with what's there.

What happened to that tree?

Wasn't there a tree here?

Oh there you are!

Let's come down to the big trees.

This is Payne's Gray and Viridian Green.

It looks like it's 3, 3... Payne's Gray and 1 Viridian Green.

actually try using equal parts I think that will be a little bit better.

I have quite generously, I'm applying this very generously [soft scraping] I didn't put any oil with it.

You, of course, have the oil on the canvas already.

I really like what's happening there.

It's covering it and at the same time that little kind of strokes in this direction give a little feeling of growth.

Little bit in between on the darks that are there.

We'll go over on the other side, same color, same brush.

This just doesn't really say that I'm a pine tree.

I don't know what it does say.

It's a tree that's there.

I'm here.

Little strength there.

Ooo, That's fun!

I just love what's happening because I can anticipate when we put on that strong light on the waterfall.

[soft scraping] I think what I'll do next, I'll get some color on here, and I'll sort of wait on the branches on the trees so we make sure we got plenty of time to do this.

What color do you want?

Okay, this is Sap Green and white.

Almost feel like I should put some Raw Sienna with the Sap Green and White.

Yes, So what do I say?

It's Raw Sienna, then this is Sap Green and White.

It's 1 Sap Green, 1 white, and you would actually have to say 2 Raw Sienna.

You got all that?

You are going to be tested.

It's on the final test.

I'll spot this on to places I want to put it, then we'll come back and blend it a little bit.

Okay so that's pretty good, and then we'll go back to that straight green and white without the Raw Sienna.

See that's just a little different green color in it.

Isn't it?

The brush that we used earlier we kind of said you're done, but gosh, will you come back even though you got red hair?

Are there any redheads out there?

I love redheads!

Here's what we'll do on this... kind of brush it together.

And what I'm planning on is, this color that's underneath the acrylic that had just a little bit of Alizarin over it that's a nice sort of mauvey gray.

I like that very much.

[soft scraping] Blend, blend, blend, blend, blending across the trees, just little bit across the greens we put up there, wipe it, but if there's a little bit on the brush-- so what?

Come down, and blend into this green, wipe it, and then blend this.

I like the way when it kind of sneaks up underneath there.

I think that is so attractive.

As we suggested earlier, you don't necessarily have to finish an area before you go to the next area.

So I'm going to take some of that dark green, and let's just come across this a little bit.

I'm kind of feeling, and I'm going to do it, I'm going to take some of this light green and add into that so it's not quite as dark.

It has just a little bit of character on it.

Can you see that?

It's very subtle.

Yeah, you can see that.

Let's come back with the darkest green again and see, yeah, that shows too so...

I'm touching where it goes, but I'm going out a little further.

That one, I have to be careful because for instance here, I need to have so you can see that character, and if it gets soft then you just bring it back, the little accent.

Did you hear what I said?

If you have a little accident on the accent, you get rid of the accent with an accident.

There you go.

You understand.

I'm going to push some of this up at the base along there so it's no longer a real definite line.

What about on this side?

This side does have a little bit more of a definite edge there, but you might push this up just a little bit... not so much there, back in here do so.

I have probably just a little more green needed on the right side.

I'm mixing some of the Sap Green and white over here with this Viridian Green and Payne's Gray.

So this is just a little darker than that.

I hope you try this one, and I hope you try the monochrome, that blueish tone up to yellow and white it's the moonlight method as described by Claude Buck over a telephone to a young aspiring artist... years ago.

Okay I'm going to come to the waterfall area, then we'll put just a little bit more on this side and we'll get some extra color in there because I see on the pochade some nice color there.

But let's go ahead, first in the waterfall we'll take this, this is the blue and white.

Where did we put this?

We put this in the middle distance and I'm adding just a little gray to it so it isn't quite as blue.

What are you made from?

Oh, it looks like you are Payne's Gray and white with a little red in it.

See, this isn't quite as bright as that.

When I place this on, I'm going to-- and I didn't start that way, but I'm going to cover it and then we'll wipe off where the lightest light is and then add the lightest light into it.

So when you are doing a pochade or a painting from a pochade you're discovering as you go, and that's what I'm doing today.

You're in my studio, you're there and definitely you might say Buck, I would have done it this way.

That's fine, do it.

This is going to work for me and it's not the only way for it to be done.

Now while I have that on, I'm going to go above here and just make that a little more misty.

The reason I can do that is that I'll have a real strong light here which is to be added, and it will certainly push that back.

Remember what we did in the underpainting, the acrylic stage, we had a little bit of a waterfall there so we'll keep that; I like that.

I'll put a little highlight on that in a minute too.

Okay now, we'll put the strong lights on the waterfall, then we'll add some colors to the sides.

This is Yellow Ochre and white.

And we want good strength, good quantity.

More, okay...

I can hear you Barb, "More."

Okay, let's come down, and I'll blend this with a soft brush in just a minute.

Kind of placing where it goes, and as it hits the bottom it gives a nice boom, splash.

It has a secondary one over in here, then you have a little bit of that moving flat water that has foam in it.

Okay let's take and soften that slightly.

What brush do you want?

I don't know.

Here's a clean fan brush; this is very soft.

I'm pushing this in, and when I push that in it blends slightly with what's there.

You need to come over to there.

I'll just touch that a little bit so it isn't too ragged on the top.

Come down... little in there, and down below we blend those together.

Lot of action there.

Before I leave there, I want to take the knife.

Are you a good knife?

Which one is better?

You're better.

Okay I'm going to take white and some Cad Yellow Light and mix that together just slightly.

You can see it's just a little brighter than that, and that's what I want, but the other thing that will help me is if I use the knife in putting it on.

Oh, I ran a little fast, it's kind of like a snowplow-- pick it up and then, let's see I'm going to take a little bit off so it's not quite as far up on it, and then put this on like that.

That has movement!

I'm going to just touch that edge a little bit so it comes down, and I'll take some of the knife and that same color just down a little bit as it comes down so you get the sparkle.

I had one student, Frieda was her name.

Oh, she was a great gal!

She was 93, and she would come into class, and when I was helping her with her painting she says, "Buck, put a little sparkle in it."

This is the Frieda method-- putting sparkle in it-- love that gal.

Okay, I think what I'll do is just touch of that up here.

Oh yes, see that can be lighter without being the sun.

Okay, now I'm going to take, this is, what are you?

Quinacridone Rose and White.

Watch this come along there.

I'll blend that just a little bit.

I'm sort of placing it on.

I going to, before I blend it, I'm picking up some Cad Yellow and I'm coming over to this Sap Green and White.

We're doing a lot of Frieda.

Now, if you're just coming into the room you have to wait and make sure we blend this before you say oh, it's okay after all.

Okay, now on the blending, I'll start the blending a little bit with the knife because if you kind of touch it that way it blends into with what's underneath it.

See the difference between that blend and this unblended.

[soft scraping] Oh, this is so much fun.

I'm even hitting the water a little bit with the knife to sort of sparkle and blend it slightly.

I need a little teeny sparkle back here on this waterfall or you won't see it.

Isn't that pretty?

Let's just touch this one a little bit so that it's not too straight.

Okay, on this side.

[soft scraping] This has been such a pleasure to do this-- for the first time!

How will I paint it next time?

I don't know.

We'll have to wait and see but today this is the way it's been painted and this is the way Claude Buck asked me to paint it.

I hope I have shown my appreciation to him by doing a great painting.

You're a great audience.

That's part of the formula, a great audience and a great technique and a desire to reach the top.

The top is doing the best you can.

Oh, this is good.

So, that's it.

That is "Island Magic," I hope you've enjoyed it.

I've sure enjoyed it, showing it to you.

See you next time, new project.

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