Painting florals is not only limited to what you see, but also to what you feel.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Do you remember last week?

We painted some acrylics, some oils.

We tried to keep it wet with the oils.

We tried to keep it dry with the acrylics, and that's where we are today.

"My Two Loves."

I'm going start out with one, and it's almost like children.

They say why don't you pick me?

So "My Two Loves," which one am I picking?

I'm going to the ocean.

That doesn't mean I like you best, ocean.

So this is Phthalo Blue and White with just a little Raw Sienna.

You can see this sort of warms the sky a little bit, warms the blue.

And if you accidentally touch the the stem, that's all right.

We're going to put more on that.

I'll surround the sun area a little bit.

This goes right over to the side there.

I always watch on the clouds.

You know, it's so easy to put the puffs on.

But what happens underneath?

The underneath needs to have some variety as well--of shapes--even though it's softer.

Okay, now, what about here?

Actually, there, that needs a little extra blue right in here because it's a good foil against the splash-up wave.

Yeah, that works very well.

So your eye comes back around.

All right, now, let's go on the foam itself, and I'm taking some of the same color that I put in the sky.

This is the Raw Sienna and White with a little Phthalo Blue in it.

This is what you would say, the building of the lights.

This is the first addition of lights.

And down here, we have one splashing against the rock.

And then what is helpful is, you take and follow a straight line down to there and that's going to be a reflection of the sun.

Let me put just a dot.

Okay, now let's go with some reflection of the sun, Yellow and White.

Let me do that again.

So you come straight down.

Notice how I'm using the side of the canvas-- that has to be straight.

I've said this before, but let me say it again.

I was looking out the window one day, and what did I see?

Popcorn?

No, what did I see?

I saw the sun coming straight down.

I'm looking out the window.

Here comes a jogger, and I think, oh, he's not in the light yet.

Now he is, now he's gone.

But the light comes straight to the viewer, so when I'm jogging on the beach, the light's coming towards me, towards me, towards me, towards me, towards me.

So remember that.

I once made a mistake and painted it down towards a person standing over there.

Can't do it.

Okay, I'm going to spread that out just a little bit, and I have a paper towel that-- if it needs to be softened slightly.

See this, what I'm painting on now, is dry acrylic.

Let's take a little smaller brush.

This will be Yellow Ochre, Raw Sienna, and White.

How come you said Yellow?

Well, I was going to do something different.

Yellow Ochre, Raw Sienna, and White.

And because I'm building to the lights, I can always go lighter.

And what I'm really suggesting is, I'm making this a little more important than the original one, and I'm glad that we're doing that because the balance is partly there, but now it's going to be fully there by strengthening the lights.

We'll come down here just a little bit.

Now I'll blend those.

Wipe the brush, still has paint on it; I didn't clean it.

Keep wiping, so you're working relatively with a dry brush and using what's there.

Just the smallest, let's see, let's take some Green, you're Permanent Green Light, and I'll come over here with just a little White.

Little more White.

And to make the-- you call that the trough, the lower part of the wave-- the trough.

And then with more White, we go up and we make the eye of the wave.

I do like the aspect of having just a little light over the top of this too.

This'll be very narrow... and just a secondary light in there.

Here, I need to blend a little bit.

That's good, but let me show you one other thing and that's taking the knife with a little Yellow and White.

Straight line, Buck.

Let's see.

Okay, so I'll measure--duh- duh-duh--I'm glad I did that.

How come?

How come you were over there?

It looked a little off.

So that's the lightest light.

Great.

Now, on the rocks, we'll put just a little bit of Umber and White.

Where are you Umber?

I think you left.

Umber has left the building.

Burnt Umber and a little White.

Just a little bit of shape on that, and then the other thing I want to do on this in just a minute is to have a little water coming off the rocks.

So we'll clean the brush.

We'll use that same one.

This is the color that we used in the sky, on the foam, and now I'm using it a little bit just to-- I'll stand over here.

Foam coming down and just little streaks.

Okay, now, there's one thing that I need to change.

Right in there-- see that width?

That's a little scary.

So I'll take some Phthalo Blue, and I'm going to narrow this.

In narrowing it, I'm very conscious of the shape that I retain.

So I'm going to come over this side, let it arch just a little bit.

So you see you get just a little variance there.

And finally, on that you have the drop-off water, and then you have some of the results when it's dropped off.

Good.

I think that'll be enough.

Maybe a touch of this on the finger over there.

Great!

You're good.

Sign it!

Oh, you want the flowers done too?

Okay, let's do the flowers.

The thing that I think would help most on the flower arrangement is starting with a little Umber, and I'm going to come down to the vase so it'll get dark against it.

But did you see what I did?

I took just a little liberty taking that off, and then on this side too, I'm going to take that off... so that you have a copacetic looking vase.

And we talked about this before.

Now that we're putting oil over acrylics, we can go ahead and let some of this come down upon the vase.

I like that, I like that so much that I'll add just a little additional there too.

Now the highlight on the vase, I'm going to take some pink first.

This is Quinacridone Rose and White.

I'm going to put a little bit of this close, and then a little darker, and I'll wipe just a little bit because it's a little strong over there.

Come on, paper towel!

Pop up!

See, the acrylic is all dry, so I can push this on, and let it touch against the blue just a little bit-- it'll soften that.

Could you paint the whole picture with a paper towel?

Some do.

Oh, I like what happened there.

I went along there, and it just softened slightly.

Then what's kinda nice over on that side, if I strengthen it just a little bit with-- I'll show you-- this is blue and White.

But just a little over here-- it represents a little bit of a reflected light, and that's a very nice feature.

Let's put some over here too.

Oh, you are beautiful; you are beautiful!

Little extra light on it, and when I say "it," around the highlight.

A little pink, little White.

Just kinda jab strokes is very good.

Okay, let's go ahead with the flowers now, and what I am planning to do is to take-- what brush do I want?

Mop brush.

And I'm just going to blend a little bit before we add any extra lights.

You're okay.

You stay like you are.

You need to have blend.

Next one, down here.

That blends away.

This blends inside.

And I'm not addressing the middles yet.

Some of them don't be addressed at all.

How come you didn't get any character on you last time?

That's not fair.

And the pinkish one... blend the inside.

The outside-- you want to let it stay a little more definite.

This one needs to be blended from the inside.

So in blending it, it makes a blend, obviously, but it also will remove a little bit of the excess.

Did I already do you?

Get back in line; you've been helped.

Okay, on these, just push out just a little bit.

Oh, I like that.

Okay, I see just a couple things.

I'm gonna take some darks, and you're Viridian Green, and I see a nice dark there.

We have it already here.

I'll just add to it so it looks like a little congregation rather than just two people.

This, we had the dark there, but spread it around just a little bit more.

Okay, what happens in there?

Nothing.

What happens in here?

A little dark.

Oh, this is so much fun to do!

I love doing these shows, and I hope you love watching them!

I get so many letters from people who say well, I don't paint, Buck, but I sure watch your shows and enjoy it.

And I write back and say, "Thank you, Mrs.

Paulson."

She's a great fan.

She is a keeper.

Ah, what a heritage!

Okay, dark down here.

All right, now, let's go back, and we'll put just a little bit of middle in, and in doing that, I'm going to take some Purple and some of the Rose.

This one gets a little bit.

That one doesn't-- maybe just a little bit there.

Here for sure.

Oh, just maybe cut under that one there; little darker in here.

Dark down here, which is partially a shadow cast from its neighbor.

And just a little bit down there.

Okay, now, let's have some fun with the knife... the knife!

So this is my Quinacridone Rose, and you are White.

Oh, you're also White there.

Okay, let's take just a little bit-- I'm of the impression if I put just a little Orange over there, it might sweeten you up a little bit.

Okay, I'm going to go up, start at the top, right in here.

Oo, I love you.

If you love me, treat me with respect.

Now, the top one, we can just add a little bit of pink to it.

When you put it on the knife, I try, I didn't there, but try to have just a little bit-- it's almost like a half inch-- and then you can do it without adding anything on the outside.

Let's do a couple of the yellow ones.

This is Cadmium Yellow Light.

Oh, love it!

What's happening here?

I needed the knife, but it needs to be stronger on the outside and not come down all the way into the middle.

We have a little bit of highlight on that one that would be just on the nearest leaves.

Next one, oo, he has, or she has quite a bit of white in it with pink.

This really-- where's your center of interest?

You have the gleam on the jug supporting right around here.

That's where it would-- I call the center of interest.

And then this one has a kind of a overhang on it.

And behind it, let's go with the Yellow and White again.

Where did we use this Yellow and White?

Oh, we used some up above there.

This is quite light right in here.

And just slight curve.

I'm going to go a little bit stronger right in here.

Oh, perfect-- or good.

What we say, good.

Okay, so we got the Rose and White with a little bit of Orange on it coming over to this side, the lower part.

I'll bring it down just a little lower.

And what's accidental, incidental on purpose was the color that I put on if you look at the palette, it's not completely mixed, so you get what you call broken color.

You can see it here-- there's a little bit of the red, a little bit of the orangey feeling.

Okay, continuing with the edges.

Oh, the more I do, the more I like it!

Okay, so I don't want you, and you're gone.

That one has just a little bit interior lights... character.

Let's go over the far side.

You are the far side.

I told you I put on a half inch, and you cheated on me.

You came out too far.

Okay, now, let's put just a little sparkle on the lower lights.

This is Yellow and White.

And there are two different yellows.

I want to put this up so you can see it.

That's Cadmium Yellow, and this is Cadmium Yellow Light.

I seem to be going for the cooler one, which is the Cadmium Yellow Light.

Let's go over the other side.

That's in here.

And then-- let's do this-- let's take just a little Rose and White.

And I'm going to just kind of push around.

It's a flat, flat knife, flat application, so I will show this to you.

I put that on, and see how it is?

It just gives a little extra color here and there.

I like very much what that does.

Oh, you're good!

And you-- you're great!

Again, I missed you, you missed the bus, but you caught up.

Now I have to go through that little sun, And we give a little twigs out here.

I won't take time to do it, but what I would do on this one... would have just a little balance out there to go with this.

See, I wouldn't do that, but I did it!

Oh, you're brave.

Reminds me of George Inness.

He'd paint on any painting that was in front of him, whether it was his or his son's or a patron's.

Oh, what a guy.

Okay, little bit of leaves... out there.

Oh, I know what I need to do.

Don't leave me; don't leave me.

This is the brush I want.

I want to put just a little extra lights down here.

And, also, just a little edging on that so we have a nice light right there, there, and here.

When I'm down there, I'd look, and I think oh, gee, you gotta come down and see these people once in a while.

Yes.

Yes.

You're patiently waiting for me.

Thank you.

And over in the far right, far-- right, left, right-- over in here, just a little bit.

And a speck down there.

We don't have any more time.

We've had a great time.

Thank you for watching.

Gee, this has been great.

I just love doing "My Two Loves," and I hope you've gained from it.

Oops.

Oops.

I had identical twins over there.

Just a little dark.

Okay, that's it.

Now I have three loves-- you, ocean, and flowers.

Bye-bye.

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