I am a great believer in accidental effects.

The harder I work, the more I make.

Stay tuned.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ And what is somebody's mistake is another person's purposeful act.

There's a champion for whatever you do out there, so we'll make a few champions today.

I remember once I had a painting I was showing a person and another guy came by the door and said, "Oh that's awful!"

But you know, I came to find out, way long time ago King George something, 5th, 6th something, in that time, awful meant artful.

So that's great; we're going to do something artful today.

I have a finished painting, "Mom's View."

This is the view my mom saw out her window most sunset times, and we have stage one of it which was done in acrylics last week.

now we're gonna go ahead and finish it with oils.

we'll start by taking, I have a large brush and we'll dip into the walnut oil, come up and push this on the whole canvas.

Obviously the acrylic has had a week to dry.

It is dry, but you know, when I teach the class in Santa Barbara where they're all doing individual things, there's maybe somebody just starting a painting and they do their acrylic priming of the canvas and then they want to hurry up and dry so they just use the what do you call it?

Not hair spray, but the blow-dryer, that's what it is.

Thank you camera, something, whoever must have told me.

I'll take the paper towel and just wipe a little bit to even it out, remove the access.

Now, we're going to do something a little different this time.

Down at the palette, you can see a mixed up Anthraquinone Blue and white and I add a little Naphthol Red to it.

This is going to be what I like to call mudpack.

So I just push this over the whole sky.

When I say "whole sky" I need to make sure that's what I mean.

I'm coming down, and this is where I'm-- yes, we'll go right across there.

Across there.

"What's the sky like today, Mom?"

"Well, it's sunset time, but there's no sun.

You better get one in there."

"Okay."

So now we'll wipe, and the reason we're doing this, it tones the colors a little bit, and it makes it so, sort of softens, so then we can work oil into it with less paint and it has something nice to blend into.

So you can do sometimes a Saturday night bath, which is a transparent color, or you can do a mudpack, which has a little bit of opaqueness because it has some whites into it.

Isn't that pretty?

It is.

Now, let's go ahead with some blue.

We'll take, this is, what are you?

You are Anthraquinone Blue.

I might give you another name.

You are Anthraquinone, Quinacridone Blue.

That's confusing that and it's not true.

Let me hold this up to the finished picture.

Yes, that seems to be the value we want up there.

So I have the big brush.

I've cleaned it in the walnut oil, and even though it might have just a little bit of stain on, that's all right.

I'm pushing this on, and when I do this, you're going to find, for instance there.

There's places where I don't completely cover it.

You get little incidental clouds so it's very helpful for forming up the little incidental clouds in other areas besides the main attraction.

Push a little bit down in there like that, push up here, and then in the corner, I'm going to go back to the palette, make it just a little darker, which means more blue less white for over on the right side.

Oo, that is very pretty.

"You mean you're happy with it, Buck?"

I'm happy with it.

Okay before we go on, it might be well just to blend a little bit, this is the bunny brush, a real friend in times of need.

Okay now we'll decide, gee, this color that was acrylic and then with a little mudpack color cover over it.

I quite like that.

I was going to put some green in there, but I'm not sure that I will.

Let's go ahead with the next color then, I'll clean the brush.

When you dip into the walnut oil, you pick up some of the walnut oil, then I sort of clean it in a paper towel, keeping the walnut oil cleaner.

The nice thing about the walnut oil-- it's nontoxic, and it's already in the paint, the walnut oil is, so it's really beneficial for my health.

Okay, let's come to the pink.

This is Naphthol Red and white.

Because I put that mudpack on there, then this certainly will look brighter.

I will hold this up to the original.

I think that will be all right.

As I get lower of course, we'll put a little more red into it.

So this time I'll choose to use the fan brush.

I'll wet it with walnut oil and come to the pink color.

Notice when I fill it, actually I can fill the whole thing, but I want to, as I put it on, I'm using very much the corner of the brush rather than the whole brush.

I can make a little more controlled drawing with it.

So let's come up here, we'll start up in here, then we'll work both ways up a little bit, down a little bit.

You know what?

You could have just a little more red in you.

Get that old red blood count up there!

Yes... yes!

Now as I go up higher, I'm going to want to have some of that little bit lighter pink, so we'll go back and get that in just a second.

Let's see, some of this can come down lower.

It's not really doing much as far as changing the color there, but you're adding wet paint so that when I put the sun area in it has something to blend into, and that is very necessary.

A little bit on this side.

Then I'll come down and go with the lighter one we spoke of, which we'll go up higher with it.

This is up higher.

It goes right off the canvas.

Let's see what happened?

I thought I had one over to the far right.

I'm going to go down and get the darker red again and then come back up to this corner.

Let me say something about the composition.

I look at the original, and it's the same thing here, but you have what they call the lyre.

L-Y-R-E composition.

That's an instrument that would look like that.

So you have the bulk, the larger tree there, then you have the little distant one over here.

It's a great composition.

Claude Lorrain and so many other fine famous artists used it to set up where they will place their subject.

All right, coming down, let's go ahead with the sun area.

This is orange and white.

What else do we want in there?

I think we're going to use a little Yellow Ochre.

That just softens it a little bit.

I'll hold this up to where I'm going.

It may have to be lightened just a little bit.

That will work, because when we put the sun into that, it'll blend it and soften it a little bit right around there.

I don't mind my brush, being a little pink on it, it'll just mix right in.

Here's where we're going.

I'll push a little bit up here.

I see some of this coming right along here too.

Isn't that pretty?

I asked you a question.

You answer it.

You answer it, and you can answer it by giving me a phone call, email.

It's so nice to have you on my guest list.

Now, we'll take the bunny brush, I probably better clean it.

The thing about cleaning it is good, but I want to make sure that I squeeze it so that it is also dry.

I want to use this almost as a dry brush, very fine, soft blending.

Let's start up in here.

Go over here a little bit.

I'll push that up just a little bit, give it character.

This one needs to be softened, and then down below, the sun area.

Just pushing that down right across that area.

Now I'm ready to go to the distant trees.

What kind of brush are you?

You're flat sable.

Okay, you have a nice long handle.

Let's take the blue.

Let's take a little Turquoise Blue with it.

So we go that blue and then this Turquoise Blue.

Can you see?

Let me just show you this with just a little bit of white.

Turquoise Blue, isn't that pretty?

Oo.

So we're kind of combining those 2 and coming over in here.

Oh I'm sorry, Turquoise Blue, we can't use you, you're too powerful.

So I'm coming back to the Anthraquinone blue.

Yes, yes, but the Turquoise Blue can be used a little later down near the bottom of these.

Okay I'm going to go across over here and then a little bit into the distance on the right side.

Okay, I will come back just slightly-- oh, let's use the same brush-- Anthraquinone Blue.

I have a little, what are you?

You are Quinacridone Rose, and I have just a little bit of blue in it.

I want to go to the far side, just a little more white, okay.

The far side, over in here.

This, out the window, you know, Minnesota has 10,000 lakes.

I don't think this is one of them.

This was more like a nice pond, because it didn't have a name.

But did you know close by where she lives there's a Bucks Lake?

And that is true when you drive around that area in Detroit lakes, you're going to see Bucks Lake!

Okay this is red, and this is white.

I'll put just a little bit of this over near the tops of those.

Then I'll let some of this red come down into the water using the brush mommy gave me... years ago!

Let's take and put-- I'm cleaning this.

I'm picking up orange.

Let's see, do we want to use this?

No, just a little pure orange.

Now we'll go to the trees.

we'll hold off putting the lightest lights in the water and in the sky till later.

So what color do we want?

Let's try Sap, let's see.

Let's take Quinacridone Rose, and you're Van Dyke Brown.

I'll come out with, first just to see, this is 2 Rose, and I knew the Van Dyke Brown's a little strong, so now it's 4, it's 4 to 1.

4 Rose, 1 Van Dyke Brown.

So I dip the brush into the oil picking this up and we'll come up and start putting this up on the foliage.

Remember what we said last week.

We said you want to make sure that you're saving some little openings.

I need to go just a little darker.

I'll take some Van Dyke Brown straight, and come over on the right side and make it just a little darker.

Pure Van Dyke Brown, picking up more.

Okay, we'll go over to the left tree and I'm using more of the Van Dyke Brown than I had planned to, so forget that formula of 4 to 1.

It's more like 1 to 1.

That's beautiful.

Now, on the lower area and I'll come back and work further on the trees.

On the lower area, I'll start with the Van Dyke Brown and Quinacridone Rose, equal parts.

We'll put some of this on just to have something to work into so it's a little darker.

We want to make sure we have that silhouette feeling even if we're not finished.

I've always like a sunset at this stage.

And when I say that, I'm talking about a painting.

There are times when paintings look good at every single step, and there's others that don't come together till the very end.

It's often when you're teaching a workshop people are doing sort of an impressionistic landscape, and they think well, this doesn't look good, this doesn't look good-- last stroke-- this looks good!

Or you put a frame on it, and it kind of holds it together.

Okay I'll blend that with the bunny brush.

When I say that, both across the tree and the land.

Pushing that up just a little with softness.

Now, I promised that my old Turquoise Blue could a part of that, so here comes the Turquoise Blue.

You go in and do your part, your part will be right in here, just to kind of separate the near and the far.

Oh, you're beautiful!

Maybe over in here a little bit too.

Okay now the next thing I want to do is to take my fan brush.

I have, this is Sap green.

What are you going to do with that?

Well, we're going to put this on the foliage down below.

I think I'll use a different brush though.

Sap green with just a little white.

And when I put this on, I kind of push this up just like the way grass would grow.

(soft scraping) Oh, I love that little Turquoise Blue and white!

Just like a pinch hitter in baseball, sitting on the bench then all of the sudden hit the game-winning hit.

You'll notice I'm a little sharp right there.

That's because I want to put the highlight in before I bring the grass up.

So here we have white and let's take some yellow with it.

This is a sizable trunk.

I'm going to measure it against there.

I think that will be fine.

So here's where it goes, a good strong amount.

Just a little more right in the middle of it.

And then let's go up to the sky area.

When we put this on, we won't have quite the contrast here, because its neighbors are less dark, except the tree, and you certainly by having this strong light over there, that becomes your center of interest, the light against the dark.

There's other places where you have light, and there are other places that you have dark.

But this is the meeting place of the two.

So let's let that sit for just a minute.

I want to come next with a little color.

What color are you?

You're Quinacridone Rose.

I better get a little bit more out.

Let's just soften it slightly with the mudpack color.

What we do on this, this is just the slight little touching that suggests the effect from the sun.

Come over on the back side.

Don't think we want it down there.

Okay let's come over to the big tree, and see, I'm just going out a little bit past it, you might be touching on the edge slightly, but it's sort of past it... and over on the top side.

Now, I'm going to take just a little color, and this, the red and white and we'll just touch just a few places to show light coming through the trees.

That has to be dark.

There's a term, it's called "refraction" and what that means is, the light that goes through the trees is affect by it's surrounding areas.

So it isn't as light.

I couldn't take this light and put it in there.

It would jump, so I have to have it a little darker to count for the refraction.

We have just enough time to complete our painting.

I really, you know, it's all the technique to be done to go into this, and then you take, and you use a technique, and you make a real careful painting so that you will be happy with it.

Now up above, I have to take a little bit of the blue that we have, and see, that has to show just a slight bit too.

Okay, I'm going to do 2 other quick things.

One will be to soften the sun.

I hold that so it doesn't bounce, not too springy.

Soften this little one, and then as it comes down to the water, we'll blend this around a little bit.

Then the last thing I wanna do, we'll do it kind of fast like, we'll take the Sap Green and just a little white actually there's a little yellow white.

I think I need to be quite dark on that and just come-- let's see, how light are you?

Just a little bit of that color.

now that gives me those accidental effects we talked about, but we want some of that to be not be quite as light.

Let's take just a little Terra Rosa with the green.

Oh, yes!

See, that corresponds to what's out there in the sunset.

We'll put some of this on the other side, just on the near side here so that you get a feeling of roundness on that, and then a little bit down on the land.

Oh, we need to push up just a little bit.

Push up.

So that edge is less dark, I mean less "stark."

I need to have one little dark, this is Van Dyke Brown.

So right in here, we're just a little weak right in there.

So I hope you've enjoyed the view from Mom's window, and you'll be able to use the technique to do your window.

Thanks for watching.

It's great to do these shows.

And I hope you learn from them.

We'll see you next time.

Bye-bye.

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