Did I see this scene, or did I imagine it?

Let me ask you a question-- What's the difference?

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Welcome back!

Stage 2 of "Mood," and stage 2, is with oil paints.

You can see the original.

That has had both acrylics underneath and then oil on top.

Over to the right, we have it completed in the acrylic stage.

Now we're going to put on the oil paints.

So we'll start with a large brush, and I'm going to pick up some Walnut Oil and I have a mixture which you could kind of call mudpack because it's got white in it.

If it's just straight color, we call it a Saturday night bath and it has a glaze quality to it.

So the reason for putting this on is so that it softens everything a little bit, and it kind of works into the colors as you add them.

So this is 3 Payne's Gray, 1 Thalo Blue, 1 white and just a little touch of Raw Sienna.

I'm dipping in the Walnut Oil.

Oh, wait a minute.

Okay I'm doing that, I had meant to put Walnut Oil over the whole thing.

So I'm going to say you just stay there a minute.

We'll take this brush; this is straight Walnut Oil.

When we put on the Walnut Oil, as you will often hear me say, we'll put on a little bit and then we'll kind of spread it around with a paper towel which both smooths it out, evens it out, and removes the excess.

So that makes it much easier to put on the paint, then we can pretty much do it just dry brush.

Okay, now we have the mudpack color coming.

When I put this on, right away it's too much but we just kind of quickly put it on a little bit.

It's sort of like when we do the Saturday night bath or have even putting on the Walnut Oil that is, I'll not worry about it being even as I place it on, so I'll wipe with a paper towel for the evenness and it also removes a little bit of the excess paint so that's pretty much covering the whole thing.

Now we'll take a paper towel, and let's wipe.

It's kind of an even wipe, it's just like you're cleaning a window or in the way I clean a window, it still needs a little extra work, but this is what we want.

We want just a misty feeling on it.

[soft scraping] That works fine and now when we work paint onto that area, we can feel the blend.

And I can use less paint, and it really is easy to get the different values just with one value itself.

Okay, let's go right up to the middle of the sky.

This is Yellow Ochre, no, excuse me, you're Raw Sienna and white, and I'm using the fan brush.

My intent here is to put it on without filling in the whole little lit area.

So we got quite a large area there, we put just a little bit of the Raw Sienna and white on then I'm spreading it out a little bit.

I don't mind having a little texture on it right now.

We'll see later if we want to flatten it a little bit with a knife.

Let's take the same color same brush, fan brush, and I'm going to go up into the cloud area, so this has less paint.

This does not have the quantity that the sun has obviously.

As I do this, you have a nice line there.

I push this up so it has just a little bit of a roll on it, so you see a little bit of shape on the cloud.

And like we did with the acrylic stage, we had a little bit of this above so it just softens a little bit as it comes down and meets the cloud and it takes away the contrast keeping your strongest contrast right there.

Okay, let's see what we should do next.

I have some color here.

That's nice Buck-- you wanna tell us what it is?

It's 2 Permanent Green Light, 1 Ultramarine Blue and 1 Payne's Gray and just a little teeny bit of white.

This is going to give us the trees and it'll be used for other things as well, but we'll start with the trees.

Notice when I start, I'm starting a little bit above the foam so that I have some control, so when I put foam in there, there'll be a place for the foam to go up without blending into the trees too quickly.

Go up a little higher, very much just corner of the brush, but I'm holding it slanted instead just the pure corner.

Coming down, you can see right away the contrast we're achieving against the sky can't you?

You can say um-hum um-hum, I can hear you!

I can hear you!

Right there, let's go over further here, then we'll come down a little bit lower there.

We want to come down lower there, but here we mentioned about this is going to splash a little higher than it is, and we'll have that misty foam.

I'll come down a little lower here against what is a distant wave.

That's the distant wave, and we'll emphasize that more by coming down just a little bit below it.

That sort of establishes the wave, doesn't it?

Come down here so it's a little sharper against right where the eye will be, which is good.

We'll come over on this side.

I don't need much paint.

You can see I started out over here and I've continued with that same small amount of paint on my brush there.

Let's see here.

I'll just knock that pale down a little bit there... here.

and maybe just a little bit.

I want to go up just a little bit higher, what I'm taking is-- I wiped the brush-- I'm actually using the other side, which is dry, and I'll just make those just a little more narrow, a little softer as they go to the top, as they go not to the top, as they go higher.

This one does go to the top, and you might have just the smallest semblance of little wings, a little branches there, not much, not much.

They're quite a ways away, and you're just seeing them more as a vertical entity.

I think what I'll do before I leave that area is go ahead and take the knife, and we'll take that same Raw Sienna and white, and we'll come down here.

Now someone might ask do you ever get mixed up using the oils and acrylics back and forth?

I have done so.

But you pretty much, like this palette has all oil now and the other one had all acrylic so you kind of have a separate palette for them, which really is helpful.

And you wanna watch it too-- Sometimes the large whites will look the same way in size and so on.

All right, let's take just a little bit, I have this dark color that we put on there, and I'm going to push that light back just a little bit, or soften it rather.

That'll be good, and you see I have just a little bit down lower as well so it's strong there, then it comes down there.

I better just soften that one a little bit.

Okay, I think that will be good.

What I did almost accidentally, now I'll do it on purpose.

You can see on the water, on the highlight on the water, if that just slightly splashes up.

You're going to find that happening when you look at an intense glow at the beach.

Oh gosh, it's so neat!

I go down to the beach and sometimes I think it looks like a sunrise!

It looks like a sunset!

And you say what's the difference between a sunrise and a sunset?

Ah, about 11-1/2 hours!

Fooled you, didn't I?

But if you watch a sunset after it's rained, you got that clarity so it almost looks like a sunrise.

So there we are.

Okay, what I want to come with next is, we'll just kind of come down, I don't know if you remember or not but what I said on the rocks, we kinda do them last so we have the highlight on, then we will bump the rocks into it without worrying.

If you put the rocks on first, it's very difficult-- you might bump into that.

So I have some Ultramarine Blue and white and Payne's Gray, so I'd say 2 Ultramarine Blue, 1 Payne's Gray and white.

This will be, and I wipe, I have very little on it.

This is going to be my splash-up.

Isn't that pretty?

Look at the softness of that!

To make sure that it's soft, we'll take our mop brush and go back and forth and really get the softness.

So a lot of what's inside is, I can't say dry because I put that mudpack color on, but it doesn't have very much, so when we put a highlight on, it will really hold right in place.

Just a little bit here and there after I've blended it, just slightly, let's go on this side just a little bit, splash it up.

I like over here just to sneak up towards the horizon and maybe hit it a little bit so that it's not an awkward moment.

We'll come down to the next one, and when I say next one I'm talking about this wave, so you can see that there's a difference in the colors, can't you?

It's just a nice little, almost a, almost a little, well, the Ultramarine Blue has a nice cast to it.

And these of course, are going to have highlight put on them, this is just the beginning stage.

Alright let's come down, should we come down, yeah, near the rocks, which one should we use?

Let's go back to the mudpack color, because it's just a little darker than what we're putting on there.

A little bit down here, then same way when we come over in here, we'll splash this up.

This is the mudpack color.

You're not going to see much happen yet until we come with our darks.

We do have nice little waves going, advancing against the rocks down below and that kind of moves the picture along.

It has such a nice composition, you have it coming this way, then down here it turns just the other way so it has a very nice movement, big 'S' shape, if you will.

I so appreciate your watching the shows.

I appreciate PBS airing the shows.

I appreciate Prairie Public Television producing the shows.

We've been together a long time and they just get better and better!

I'm talking about the shows getting better and better because the Prairie Public people are already great.

Dip into the Walnut Oil to clean the brush.

Did you notice how I did that?

I just dipped it in, didn't swish it around, then pull it out, so that your oil is still relatively clean.

This is the tree color and we're coming down, and again I'll wipe a little bit so I have the control over how much paint, and I'm putting this down as the dark accents.

I'll just spot it in then I'll come back, and work it around a little bit.

It's surprising how small amount of paint that I use when you've done the acrylics first.

[Buck hums] You know, I've told this before, but it's so funny.

I was in a class teaching, and I was kind of humming, which I tend to do and I love to do, and this one student says when I was growing up I wished I could sing, now, I wish you could sing!

[laughs] So anyway, she was real funny, and I really enjoyed her, one of the nicest people ever, and I told her to get up off the floor after I hit her-- no I didn't do that, you know that!

Okay, I've placed on the darks.

On the trees, I like the way they are.

Distant water, I like the way it is.

The other water has the dark placed on, now let's work with it.

This one, working with it means push it a little bit over to the side and then come down.

The other thing that is very helpful is if you have a paper towel, you can kind of soften it that way slightly too.

You do it very gently because you don't want to remove too much paint, but it's a great blend, it is not?

I expect you to say something.

I asked a question people.

Sounds like a teacher, doesn't it?

I've been a teacher, I was a coach and a teacher for 3 years, loved it!

Oh, used to like it when my high school students would come over and knock on the door and they'd say can Mr. Paulson come over and play?

We'd go play basketball or baseball.

But oh I'm so grateful to be an artist!

Isn't that a nice blend?

Now this one, it's a little larger area just blend it, let it come down a ways like that, and then down here I'm going to force it over just slightly into the middle, and you see you're making use of the underneath paint, there's still some thin spots which are just excellent from the acrylic stage.

We'll push up just a little bit in between those waves so they have individual looks to them.

A little bit in here, and then across there.

Okay, I think what I'll do now is, I want to put on the highlights on the foam, and when I say "the foam" it's flat foam, splashing up foam, what have you.

What should we use?

I see you, you're the sun color.

I made this, meaning it to, it's a little lighter, Raw Sienna and white, but I want to try this one first.

When I say that I'm looking in this area and again, it's the path of the sun therefore it could be a little lighter.

When we go up into the foam patterns I'll take a little Walnut Oil, and this is kind of a liner brush, and we're establishing the lights along there.

And as we go past that area let's, oh no, we haven't done anything up there yet.

As we go past that area, we'll go with a darker value.

This is the mudpack color.

We're going to put little foam patterns, and of course, they don't get as much light where they're at.

But you notice the variety of sizes and the direction is very cohesive, or complimentary.

It's going the right way-- that's what I'm trying to say.

It's going the right way.

And in this case it's all going this way.

Just a little bit there.

Often I'll take and just blend those a little bit, but you have to be kind of cautious because we're blending crossways and the foam's going the other way.

Tapping is another nice way to blend.

Now let's go with more foam, and I'm going to go and put the foam over on this one.

I'll take that same foam color but I won't use quite as much as this.

Yeah, that'll work.

Notice when I put that on, I kind of tap it, and you have a shape that has just a little bit of a width to it.

I used to say that this was like a snail with a headache, so you have a little more quantity up in the head, then less down below.

Same color, we'll come over on here, we need to have a little bit that kind of comes right along the top of there because that's in the path of the sun.

A little bit here, not much, I don't want it to pull my eye away from this area.

Okay, we'll come with that same color, and now we're coming down to here.

I'll kind of rush this on, and then you can see I'll come back and blend it a little bit.

So all along there, then in here.

Notice these big strokes, big, big strokes.

See, it looks like the rocker strokes, the rocker strokes.

It looks like it's moving water already, doesn't it?

Then up in here I have just a little bit of the same thing on my brush but it's less, and it's mixing in with the wet water colors-- see what it looks like?

Let's take, you're Viridian Green and white...

I'm going to go just a little lighter in there.

That's what you call the eye of the wave.

That's a nice spot.

Okay, now I want to put some light on the little foam that's coming near; this is a jump back.

Let's see, what color are you?

Yeah, I have to go lighter.

This is the one we put up there.

Then down here, just a little lighter, and then you watch what happens when we go-- next we need to go into the rocks.

I'll eventually blend this a little bit, but not yet.

So we're going to the rocks, and this is Van Dyke Brown and what else are you?

I think you are umber.

Burnt Umber and Van Dyke brown.

Now, this is done with a little bit of drawing on it, you have to have that edge there-- oh that's beautiful!

When you wipe a little bit, then it feels like the water is on the rocks.

So let's wipe just a little bit, wipe just a little bit, wipe a little bit, and we can even put a little, just a little foam on the rocks.

The water has been running.

There's a rock out in the middle here.

Then finally we need to come down to the lower rocks.

So we'll put these on, we have to unfortunately rush just a little bit, but you get the idea.

The foam on that rock... let's take a knife and we'll put some light on, right on here, because this is a flat rock.

You can have a little foam dropping off, but see, when I drop off I went back to the gray slightly, and I'll have just a small little line that kind of shows you the edge of that rock.

Let's go a little bit on the lower rock, we have just enough time to rush it on.

Oh, gorgeous, gorgeous!

Okay, I'll take the blender brush, I think I've already blended this enough.

Here we've already blended that, we'll just splash that up a little bit, splash that, splash that.

Blend this one... blend this.

Look at the nice impact there.

We can have a little light in the front of that, just coming over there.

Then the last thing, I'll take just a little bit of light and kind of just sneak a little bit across like that so you get the top of those little ripples.

Boy, it's almost like working at the shore, you've got to hurry because high tide is coming in-- if you're not careful you're going to be washed away!

So we have just time enough to do that and get out of the way.

Ah, I hope it's been pleasant for you.

I really love painting oceans.

They have so much vitality, and you can put a little bit extra in, when you see a wave, add extra, whatever you want.

See you next time.

Bye-bye.

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