I don't believe there's a cathedral in the world that can compare with the sanctity of a stream and a landscape.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ In art, as in life, you can win or you can lose.

You win by trying, you lose by not trying.

So when we come to this painting, we're gonna try a few things and experiment a little bit.

And I hope you're willing to do it as well.

Let me point where we are at this time.

This is the painting that I did last time.

It's been completed in acrylics.

And now over to the left, we have the prima donna.

We have the finished painting of "Oak Park."

So, we'll go to this stage by adding oils over the acrylic stage.

We'll begin by putting walnut oil-- and I have a large, one-inch brush they call it, we'll put this over the whole canvas.

And when I do this, I pretty much do it spasmodically, it doesn't completely cover it until I use a paper towel to push it around, which covers it very evenly.

And at the same time you realize that I don't want any great quantity of the walnut oil on.

This really makes it nice so that when I put oils on I don't have to dip into medium, I can just use the wetness of the canvas.

Alright, I'll come down to the pallet.

And this is our Saturday night bath, Quinacridone Rose.

Hello Rose, can you come out and play?

Ooh, isn't that a nice color?

Still the one-inch brush.

This is similarly applied as a walnut oil, which means what?

That I don't have the same amount over the whole canvas, not until I take a paper towel and push it around.

The reason that I'm doing this is I love the quality of the color underneath when you've put the rose on top, or whatever color you use for the Saturday night bath.

And then it also works when you put paint into it, you work into the wetness.

It really softens and makes a nice control.

Okay, so, to do it like we did with the walnut oil, we said that we took and we wiped it around.

Now this isn't real generous.

Sometimes I'll go pretty generous with the Saturday night bath.

Just enough of a tone.

You know where I especially like it.

And we'll be adding some more of the Quinacridone Violet-- if I said rose, I meant violet.

Quinacridone Violet.

Just a little cooler than the rose.

Where I will especially like it is where I want to come back to this tree.

Ooh, I had some on the brush as I did it!

Did a little under that tree.

And a little bit over here and over in here.

We'll add some more as we come.

I just want to point that out.

Okay, I'll clean this brush and I'll use the same one.

I like this brush for the simple reason is, you can use a small amount of paint and you can push it around quite easily.

You don't have to work real hard.

It's a nice way to control the paint.

This is taking Quinacridone Violet and white-- with a little touch of turquoise blue in it.

Isn't that a nice color?

It has almost a little violet feeling, a little blue feeling, just right.

This is going to go in the middle of the sky.

I'm gonna come down--let's see, let's take a paper towel and I want to make sure I don't have too much on the brush as I do this.

Because again, each time you're putting on color, you're saying don't destroy what was already on the canvas.

You want to feel the other color coming through-- and you can see it right there, where it's showing through.

Now, here, I'm going to just wipe a little bit more.

That's why I say the larger, firmer brush, you can do it like this.

I'm coming down a little bit into the trees, so that when I put some edges on that, I can control the softness.

I can make it so it's not too firm.

Now, you see as I do this, what has happened?

Your light isn't quite as light.

But we'll add it, we'll add it.

This is just a kinda nice little veil that goes over the areas in the sky that we can work into.

Now I'll come down to the water with the same color.

We'll come just straight down.

And if you go thinly enough, then you're still gonna see that kinda impact that we put on with the brushstrokes.

Okay, push this over.

Even though that's gonna be shadow, I'll come through it a little bit now so that when we put the shadow on, you will have something to blend into to soften it so it's not to hard.

Come down close to the rock.

Come over here and then I'll jump over to the right.

Because you have a little opening through the trees there and it shows a little bit in the water there.

Do I need to do any more there?

I don't think so.

I think that's good.

I might wipe the brush and then just sort of blend a little bit.

Just go back and forth, just to make sure you have a little blend on it, and it's soft.

Oh, I just love that color.

Because it's got that pinkish feeling.

Putting the Quinacridone Violet on as a bath is so good.

It almost makes me wonder, did I do it on the original?

You'll find that I probably did because when we put the yellow and white in here we'll lose some of the pink.

The pink stays more on the outer boundaries.

Let's again, with the brushing, come down below like this.

It's so surprising how quickly this looks good.

And what I like, and it's not always that case, but sometimes a painting looks good at every stage.

It looked good in the acrylic stage.

It looked good when you start putting the oil on.

It'll look great when you finish it.

Paintings aren't always like that.

Sometimes it's just the last stroke.

I've received many emails from you viewers out there one choice one: this lady said, [with high voice] "My husband was in there watching"-- that's how she talked-- "My husband was in there watching the show and he said 'What a mess!'"

But by the time he got through he says, "Oh, I like that."

And that's it.

It's fun to kinda fool you a little bit.

Let's go--we'll pick up the fan brush.

I'm gonna hold off doing the lightest light for a moment.

We'll come over, let's come over to the big areas, and that's generally how I'd like to work.

Start with the large areas and then put on the small detail.

So on the large areas, I have some Van Dyke Brown and Viridian Green.

Now, remember what I said, we used the walnut oil up there so we don't have to dip in.

The walnut oil is excellent because I can use it for cleaning the brushes as well.

This is gonna be rather dark, but it just makes so when you mix the lighter green into it, it has something to kinda tone it or tint it, I guess would be the proper word.

Tint it a little bit.

So this is just putting on, you might call it just a mass of colors but I'm sure you're seeing some close-ups on this and you can feel the blue coming through.

I absolutely love underpainting the Ultramarine Blue and white and you see the priming's still there when you put color on.

You don't destroy what's there, you make use of it.

Coming over to this side and then--let's see, I guess we were talking about a couple little leaves up here.

We'll just kinda touch them a little bit, and you can see how much of the blue is still being felt.

Because that's so true when you're doing foliage, you're gonna find a lot of the shaded area has a blue cast to it.

Because it's being-- it's reflecting the sky, the sky color is in it.

Okay, now, here's where I would like to go next.

To the distance.

I kinda feel that maybe I better put that yellow and white on so that when I come with the edges of the foliage we won't disturb it by putting the light in on top of those.

So, here's what I have.

I have some Yellow Ochre and white here.

I hope that's enough.

If it's not, I'll add just a little more white.

Make it quite light.

Are you gonna be light enough?

See, I can kinda hold it up there and say oh yeah, maybe just a little more white.

And if you were a little hesitant you'd say well, it's tough to match it.

I'll tell you a great way to do.

Put some Saran Wrap over that then just touch it on the Saran Wrap, so the Saran Wrap will allow you to see through and you can tell very quickly whether you have matched it or not or close enough.

Now, when I'm putting this on, I'm using a quantity of paint.

I need to make sure I got enough white in that, so I picked up just a little more white.

Nice it about this, if it needs to be lighter once we finish it, then we can use some cad yellow and white which we can make.

Just like that.

Then we'll take and just spread that around a little bit.

You can see the light area now stays more in a focus area, not so much up above as we did with the early stages of it.

So this, you're sort of pushing up.

Stay just a little more quantity right in the middle.

If I find any problem with that, then I'll take a palette knife and just gently flatten it without really removing any paint.

That's very subtlety done.

That gives me the impact I want and we'll go right ahead and come down into the water.

Isn't this nice where the previously color we had there and the Quinacridone Violet over that made those very pinkish in hue?

Strong there.

And we want to make sure as we did earlier that you have a little light on this side of the tree and a little light that side so you still can feel the reflection coming down there.

And a little bit over in the far right.

This is a part of the stream-- I like that little aspect, just kinda moves you into the picture.

And while I move in there, notice when I come up here.

Just a little light there.

So it kinda continues your path.

This does not distract from this and that's the only criteria you need to have, that you're not making two centers of interest.

I have--just take the large brush and it's surprising how well that does it's blending.

Or you could just have a regular blender, too.

But I like what that does-- you get just a little, almost ripples in the water while you're doing that.

Okay, now, let's go from the back, forward and what I was saying on this is that the edge is very important.

So I'll come down to the palette and I'll pick up a little Permanent Green Light and I'll just dip over a little bit with the Van Dyke Brown.

That should work.

Let's just try this.

Now when we come here-- see, I'm just gonna push it up so it's very soft on the edges.

Then we can always come down lower.

I know when, earlier in my painting, student days, Claude Buck, we went out painting landscapes.

Oh, it was so frustrating because I didn't know how to paint.

Gee, what do you do?

I was so ready to just throw the paint box in the stream and walk away.

I would've come back later but I didn't want to hurt his feelings, and I'm so glad I didn't.

But later when we'd go out painting landscapes, he'd say, "Why do we paint anything else?"

But then he'd come over, and we'd paint a nice portrait, "Why paint anything else?"

So, it's just whatever you're doing, make it the best while you're doing it.

See how soft that green is?

Now, let's come down a little bit in here.

This is Colbalt Blue and a little dark, the Van Dyke Brown.

I don't know if that's too dark.

I'll kinda wipe some off and push it around a little bit.

Now, this works okay.

Now, I'll go up into what I just previously put on.

So, we have a little darker trees along there, but see, what I put on first becomes the edge of the trees.

The edge against the sky.

And pick some of the same thing up by mixture and come over next to this tree.

Let's put a little bit of that.

I hope I don't run to fast, this is the Colbalt Blue and Van Dyke Brown.

A little bit in here.

There's a shadow there that is kinda nice so that little light is an accent against that area.

Alright, now what I want to do is to take some raw-- no this isn't Raw Sienna, you know what this is?

This is Transparent Yellow, let's see, Transparent Iron Yellow Oxide.

Wow!

Can you remember all that?

It's such a nice color!

I'll come up with it, push it on here.

Now, where did the blue come from?

Nice accident, but I don't want you.

Okay, we'll come up and we want to push this out into the sky slightly.

It's almost like Raw Sienna, but it's just a little softer.

A little softer than the Raw Sienna.

You could use Raw Sienna if you thinned it out a lot.

Now, I want to come with the same thing, just a little more fully.

So in other words, I'm pushing a little harder here.

Soft, to be on the edges; harder, to the inside.

I want to come with the same color again, down low in this area.

And eventually we'll put a little green in there, a little orange.

Oh, I love this!

I love painting for you.

Like that.

Alright, let's do just a couple small leaves.

I got a twiggy brush.

Where are you twiggy brush?

Oh, right here.

Thank you.

And let's take a little bit of the burnt umber and we'll go out just a teeny little bit.

Now, remember what we did with the acrylics.

We went from the inside out.

It doesn't matter which way you go, just so you are tapered on the end and it's a little wider as it comes in to the branch.

What's ever the easiest way for you to do.

Let's see, do we need another one?

No, I think that'll be enough.

Oh, what we do have is-- I'll use the same umber-- there's a little tree right in here.

Ooo, you're playing ticktacktoe!

Just a little foliage on it.

Okay, now we'll go for again for some larger things.

Let's take some green.

This is Viridian Green and I have--let's take cad yellow.

Oh, just a touch of orange.

Okay, now I'm coming up on this tree.

The outside edges again are soft, but they're closer than the distant ones.

And I'm gonna take this and go over to the right.

And this works in a little bit with the foliage that's there.

Remember that Transparent Yellow Iron Oxide?

Those four words are there.

I may have them in the wrong order.

But it starts with transparent.

Ooh, that's great.

Now, let's come down over in here.

We'll put a little bit up in there.

I'll come along here just a little bit, too.

Now, when I come right here, I want to make it just a little more yellow.

Little more yellow in it.

So, you're showing a little bit of the distance from this tree to those back trees.

You know, when you have painted a painting before and then you come like this and teaching you how to do it, there's often things you didn't do there that you think, ah, I'll do them here, and you kinda learn as you do it.

Don't be so tied to something that you're the one telling the painting what to do.

"Let the angels guide you," that's what Claude used to say.

He felt like when he drew a line that was just right, that he was being embraced by an angel.

And it's a good feeling when something feels just in the right place.

Doesn't it?

I'm putting some more over there, too.

Now, I'll take a little bit of a gentle blending back and forth.

Okay, let's take the umber and we'll come down with a couple of the trunks, just a little stronger.

And this is the Van Dyke Brown.

So we come to here.

Now, when I do this, I'll sneak through a little bit and that makes the foliage look a little more sparse around the tree.

That is one of the most helpful things in doing trees.

If you feel, oh gee, it looks so heavy and soggy.

Put some branches in, it kinda makes it a little more airy.

Not "eerie;" "airy!"

We'll come over to the next trees and do some of the same thing.

This one--this one truly has very little foliage in front of it so you can see the difference right away there.

I'll put a little highlight on that.

I'm gonna take the sky color and this, as we did before, we came on the left side of the tree and put just a little bit of highlight.

We are flying along here.

We need to get down to the rocks just a little bit, too, because we need to have time to do them.

The easiest way on the rocks would be to-- I'm gonna take this Transparent Yellow Iron Oxide and push across there.

Then, with a little bit of the Van Dyke Brown, kinda just work in a little bit.

So, you put the wash on with that golden tone, which could be Raw Sienna or the Transparent Iron Yellow Oxide.

I want to make sure that I have the rocks out in the water established so-- I'm gonna lighten that a little bit.

Just a little orangish tone with that.

This truly is important, 'cause it's right there with that light surrounding it.

And you have just the smallest little touch of reflections underneath the rocks.

Here comes rocks along there.

You have some in here.

Just using the Van Dyke Brown.

Let's put just a little lights on.

This is again, the sky color.

I'm surprised how much we use this sky color.

That we kinda just tap some of those rocks.

And when you do this, you're letting some of what's underneath there be part of your rock color.

Let's come over on this side.

Just a little bit on these.

And this one is a very important rock.

That guy, right there, he's an important rock.

Oh, and I noticed a little orange at the bottom of this tree.

Look how that comes down there.

Ooh, doesn't that say hello to you.

Take a little umber, and I want to make sure we're seeing this tree through there, because he's pretty important.

Okay, just a little bit.

Maybe a little umber on his side.

Let's see what we still need to do.

Oh, I need to put a little bit of orange on the bush.

So this is--clean the brush with walnut oil.

Coming with pure orange.

See, that again, it takes its rightful place.

And as we did before in the acrylic stage, we said, okay, let's use some of that orange in other places.

So we can use just a little bit around like that.

I hope you realize that we rush very quickly on doing a half-hour show, because we don't have a lot of time.

But if you get the ingredients of how to do it, then I feel good about it.

You get the DVDs and you get the instruction and you can see the original, you can't fail.

And you can make variations, too, as much as you want.

Here's a little blue, just a little green, we'll make just a little touches over in this side before we kinda have to say good-bye to you.

I'll just keep painting and you eventually will just say, "Where'd he go?"

We'll be back next time with a new painting.

Isn't that cute?

Isn't that pretty?

Let's put just a little more highlight down on these lower rocks.

That's that Transparent Yellow Iron Oxide.

Okay, I think that's enough.

I'll take one touch with a knife.

Just a little sparkle down there.

That's dynamite!

Boom!

We'll see you next time.

Thank you for watching "Oak Park!"

It's been a dream come true having you there.

Thank you.

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