It's great to eat 3 meals a day, and it's great to paint in-between meals.

It's time to snack!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Boy this is going to be fun!

To snack a little bit with paint.

Don't eat it!

Although it's nice to have nontoxic paint, isn't it?

I want to say something about what we're looking at and that's the pochade from which we made a monochrome part one in acrylics last week.

This week we're going to use it to go on and put the oils on the acrylics.

Down below I have one that was done from this but it has just a little variation.

So what I'm going to do now is have the liberty of painting from either one of them; both of them.

Both of you just stand still.

We'll come with the Walnut Oil and I have a large brush.

I'm going to change brushes I'm going to go to, you're still dirty from your last time out.

Are you still dirty from your last time out?

No, okay.

Okay Walnut Oil.

And as you recall, the reason we use the walnut oil is so that when we use the paint, we don't have to be dipping into a medium.

You already have some surface to work with there.

I'll wipe a little bit because we don't need quantity.

There will be times when you do foam patterns, as you can see the bottom one, that you'd probably dip into the Walnut Oil to thin out the paint as it comes off the canvas.

Okay I'll take the same brush, I'm coming over to Raw Sienna and this will be our Saturday night bath.

Saturday night bath, oh it sounds so good on the farm if your number came up first, you were the first one in the little tub.

And when I say "tub," I don't say bathtub.

"Tub" period!

[soft scraping] The last one, the last person of the 7 people was not necessarily religious but he could walk on that water it was so dirty.

Okay, let's go here.

And what you have is just a little bit of a glow, it softens everything slightly and it makes it when you work something in, whatever you put on will look a little brighter than it actually is.

So let's stay up in the sky.

I have, this is Quinacridone.

What are you?

You're not Quinacridone, yeah you are.

Quinacridone Violet, ooh I love that color and Anthraquinone Blue, equal parts.

I want to push some of this around, because it kind of has a little cooling aspect to it.

And when I say this I can look over at either painting, the kind of the cooler areas around, away from the sun, so that's what we'll start with.

Oo, that kind of surprised me.

I thought you'd be a little darker.

I'm gonna put a little extra blue into you.

And when I come up this time I'll say oh that's right, 'cause I have to.

Oh, it is!

Good.

I'll let some of this just drip over the horizon slightly.

Come over here, come right into the cliff, and I'm going to take this and go over into the cliff.

We'll be putting some extra dark on there, but I want to come up into the sky.

All the time I'm doing this you can see the focus that is coming on the middle of the sky.

And that is quite important so that the viewer, that's you, will enjoy looking at the sky without being distracted all around.

You want other subtle little things to happen other places, but you certainly establish your center of interest early.

Now, when we come there, I'm going to take the fan brush, and I want to have just a little extra of the violet in it.

That is such a pretty color, isn't it?

You're a good one.

You should have a strong name like Quinacridone and it does, Quinacridone Violet.

I'll lift the brush.

What you'll notice is one little subtle, well, there's probably several.

But a very subtle little difference in these two paintings on the left, the finished ones, and I want to point that out.

And that is on the pochade, you notice how the cloud comes into the mountains.

Down here, it comes in a little bit, but notice what happens.

You have a little character on the cliff.

And I quite like that, I think that what that does, it helps focus the energy, or the center of interest, around here and here; they kind of go together.

It's a nice path going there, then back into the sky rather than this just going off into the distance.

So let's do that.

We'll take a little red.

This is, what kind of red are you?

Naphthol red and white.

I have a small flat brush.

I'll blend this in just a minute.

Right now it's just a little strong.

What will help this-- I kind of blend it with a finger-- would be to have a little bit of the cliff darken.

What color you want?

This is that Anthraquinone Blue.

Gee that's such a great name.

Put just a little white with it.

Ooo, you're beautiful.

I was looking at the floor director.

The paint is beautiful too.

It really is, this works out just the way we wanted.

Take more of the blue and go into the far right.

That's going to work.

It's so easy to get caught up with the current area you're working and you realize there's quite a lot left to do, so I'll run down and get some of these other things started.

On the water, let's take the fan brush.

This is what are you?

Quinacridone... Anthraquinone Blue and Yellow Ochre and white.

Oh!

Let's see what happens on that.

Oh yeah, this will give us some of the nice soft blues.

Anthraquinone Blue, Yellow Ochre and white.

Down through there and you have a little bit of what you call the eye of the wave that we'll put in just a little bit there, and then I'll wipe it so some of that yellow tone still shows through.

New paper towel.

Get a good paper towel whatever you do, then you don't leave it on the canvas.

And you can use it to do a lot of the spreading around work.

I'll come up on our mountains here and just kind of wipe just a little bit to see what we have with them.

You can see how much help you receive just from having the acrylics on correctly.

A lot of these little touches you don't have to change because the acrylic did enough of it.

If I do any change, it would be merely maybe softening a little bit, removing a little bit of the pinks, a little of the spottiness comes through, a little vitality.

A strong one at the horizon.

Okay, let's come to the big foam and on this I want to have.

You're Quinacridone violet and white.

What kind of blue should we have?

Phthalo blue.

Oo, that's a powerful blue.

A little more white, that's about equal parts and then we have this.

When we do this now, see, you already have splash up there, but you take this and you put it on where you want to have it.

This is in the shadow area, but you go past it, past it.

And when I say "past it," see out in the distance.

So you soften the edges.

You have a little bit of a misty, misty look.

That's beautiful, and you don't want to destroy the foundation, which is your previous shadow color there.

You want to make use of them.

Come down to the next one.

Same idea-- a little bit.

You're kind of splashing around.

You let a little bit of the underneath show through.

I like this here see, I can still that kind of it's almost a kind of-- I don't know what color it is.

Kind of a grayish red, something like that.

There must be a special name you get all these other.

Anthraquinone, Quinacridone.

Oh, Yes, so putting this on where the foam is and this is the foam minus highlights.

Then just a little bit of this going down to what we call the trough of the wave.

Okay now let's go up to the big part of the wave, and as I look at the original it almost has a little bit of kind of a pink color.

I wonder if I want to start with that.

I think I will start with Viridian Green and white.

Boy it's fun to have you think with me.

"Think or swim."

If we think wrong, you may have to swim when we're doing the ocean!

Okay, this is the Viridian Green and white.

What my hope is here a kind of a transition from the shadow up towards the light.

We're putting the shading on by going from the dark to the lights instead of light to the darks; both ways are good.

And the other thing that I see as I do this is a little bit of pink in there too.

See the pink there, kind of an orangey pink.

So let's take some of that.

This is again we're building towards the lights, but this is not the lightest light.

There's a little pink, the red and white.

Just right.

There.

Just great!

The reason I say that is because I know I'm going to have a lighter light and this one is already doing its part in making it look powerful.

You want to make sure everything's kind of in the focus area, which is near the middle the center of interest right there, so I don't put quite as much over on the sides.

Okay I'll blend that with a mop brush, a clean dry mop brush.

And when I start out with the mop brush my thought is whatever I do, it's too much.

So then I kind of back off before I even test the waters.

That is testing the waters isn't it?

Slightest amount of pressure.

This one, I'll just push down a little bit because the mop would have spread it around and I'm actually diminishing it slightly.

Okay now we'll put on our strong lights.

And we'll use a fan brush on this, clean fan brush, and I have, here's Yellow Ochre, bringing this over with some white.

You remember how I said-- oops, I need some good white.

Oh, right fresh out of the bottle!

Okay, strong white.

And Yellow Ochre.

Is that gonna work?

Make sure I have enough Yellow Ochre with it and there's just a little red too, so it has just a little pink flavor.

See that's the impact point point, when I look there, see the impact there, and it certainly is there.

And down on this one, a little bit more there, and then where I want to make sure that I have good strength would be in the path of the light.

The path of the light is from your horizon, so we'll go to the horizon.

Notice on that one, I don't have any down here.

Why not?

Why not you ask, and I say I don't know, it should've had it.

And I'll come right down to there.

Okay that's the path.

Now we'll work just a little bit of highlight, and we're going to do this in the sun area first.

This yellow and white.

When you look at the two pochade and the other painting from it, notice the difference in the sun.

In the pochade it's really large and powerful, here it's less.

I kind of like it less so that you feature this even more so we'll see what we're doing here.

That automatically looks larger because of what you had as a place for it to go.

So I'll let it be my guide.

Then coming there, then we want to come down to the horizon itself and have a good strong light.

I believe what would help a little bit down there is if I have a little of the red.

This is Naphthol Red and white.

Just a little shoulders for it.

To have, yes like that see?

And then subsequent stepping down towards the front.

On the shore area, you don't have a shore, but down here we have just a little stronger path too, then there isn't any question where the light's coming from.

You know when we do these paintings, you're in a little bit of a rush, I hope you can overlook some of the unrefined look, but you get the idea of how to do it.

Let's take the red and Payne's Gray.

We'll come over on the rocks.

Let's go more Payne's Gray.

You can have a good strong dark there.

I like the character in that one.

And then this one, let's go a little higher than it showed so it wasn't just straight across.

As I come down, I'll push this dark on, trying to retain a little of that blue monochrome, the Ultramarine Blue, to be part of the color scheme.

Take a knife, we'll use the knife just for a little flattening there, then we'll take some, let's take some of the foam color.

This is sort of the shadow foam color that I had up there and we'll put this on just as if there's some foam coming off the rocks.

Of course, if it's foam, that means it's wet so we can have a little of the sky being reflected into it.

Is that too much?

Maybe a little bit there.

I want to take a mop brush and kind of blend around and then we'll put in some foam patterns.

We've got time for foam patterns.

Brush this just a little bit here, and we've done this before where I say if you've got a good paper towel, you can almost use it as a brush, like a blender.

So I can tap some of this and when I tap it, it's sort of removing just a little bit.

Blend that more; I want to push up a little bit in that.

I want to put some foam patterns on, and then we'll put a little dark under the water, under the waves.

we'll use a liner brush and I'm using some of this-- where did you-- oh, this is the foam shadow color that we used up here.

So you have these, just a little bit of character in there.

If I do a few in here, we would put them down several places, but if I just do in here, you can really see how they're done.

You want to have a feeling that they're just flowing on the water.

Variety of shapes and sizes-- that's the most important thing.

I told you once how someone said that Buck was a spiritual seascape artist-- anybody could walk on his water!

That's before I realized how to make them soft, foam patterns and the waves.

Okay now, you do more foam patterns on both sides, but I want to make sure that I take-- this is pink-- that I want to have some of these just a little bit of sparkle.

I have such a great gal, Frieda is her name.

She's an art student of mine and she now is in a rest home but she used to paint, just a year ago she'd say, "Put some sparkle into it Buck, sparkle!"

So even though she's not there, when people, they'll say could you give me a little Frieda work on mine?

Every time I go see Frieda, she says, "I'll be there Tuesday" and she really is.

Okay now let's see... a couple of things.

Let's take the fan brush, a little bit of the Anthraquinone Blue, I want to have this, the dump, just a little stronger.

That's our Minnesota country running water.

I was raised on the farm 50 miles from here.

We didn't have running water, we didn't have electricity.

But we had a lot of fun... and a lot of love.

Isn't that pretty?

I feel like I can do it on this one too even though the pochade or the next painting have it.

Okay, let's take a little bit of the Anthraquinone Blue and Payne's Gray and just a couple accents under the wave.

This strengthens the wave when you do that.

See, you can certainly see it on that one.

Watch the same thing I'll do on the next one, on the next one as I do it, I can push up high enough just to narrow that a little bit so that it's not just a perfect parallel.

So this has been great giving you this lesson.

I hope you'll send me pictures of your surge, "Power Surge."

What he'd say?

That's what it is.

Oh, the corner-- corner for sure needs some darks.

Okay we don't have a lot of time left, but I'm going to take the fan brush and just show you this.

On some of this, and this is the same thing we used for the foam patterns.

On some of these, you can just kind of use a fan brush and just swish in so you get a little movement on it.

See how that works?

You get just a little action.

These have more character in the middle but you can have so you know that it's representing the trough of the wave and the previous wave has been there.

I think we're pretty close.

Let's, because you were there and watched faithfully, let's even come over here and we'll put just a couple little birdies.

Somebody out there says Buck you got to have three!

Oh okay.

This one is flying just a little different.

Then where do you want the other one?

Down here, down there.

Down here, because it brings us in to the middle of the painting.

They can have just a speck on the wings, and I think that will be just about where we have to say good-bye to it then.

Okay that pretty much does what we want for that.

If I have any time left we'll take just a little red and white.

Go up just slightly in the sky.

Just a little bit over on the sides-- boy that's a powerful thing.

Just a little peaking up there too.

Put just a little bit more as a reflecting from the sky into the water so we certainly can have some of that evidence of what kind of sky it is.

I'll push that down around a little bit... the brush mommy gave me.

Little bit dark under the wave.

We have done it, but then we have just a slight little bit more that would help.

This is a good edge right there.

You can see the top of the wave.

A little bit in here.

We don't have much time so we're going to say watch high tide!

Make high tide your life.

And I'm not calling the painting by the name high tide.

It's your life-- make it good.

See you next time.

Bye.

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