If you can't decide which color to use, be a Solomon-- cut the tubes in half!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ Solomon!

We're going to use all colors today, whatever is needed-- and that makes us wise, right?

And I hope that it will work for you.

We'll start this painting, and let me just say this first about the project.

This is the oil stage, acrylics were done last week.

This is the pochade, "The Quiet Stream" and we're going to make a painting from that that's never been done before.

So we'll use this and see how we come out with enhancements here and there.

On the canvas, on the easel, we have the completed acrylics stage and I'm placing Walnut Oil over the whole thing to give it a Saturday night bath.

Now let me talk to you about the Saturday night bath.

I was raised 50 miles from here on a small farm in Minnesota.

And when it was Saturday night, it was bathtime.

With 5 of us wanting to have baths, we kind of had to see who got the short straw because the first person was lucky, second person a little lucky, and you got down to the 5th one, the 5th one could walk on water!

It was a little dirty, a little thick.

So we're going to take and give this a Saturday night bath.

This is Alizarin Crimson.

Oo, I love that color, and when we place this on, you're going to find that it's going to be kind of generous, then we'll wipe and spread it around.

So you could say well, why don't you just put less on to start with?

Well, either that or do it my way.

So we'll do it my way this time.

There's no reason-- you could put it on heavier and wipe less, or you could put it on and then wipe just a little bit more.

I'm kind of wiping a little bit more but boy, I love the influence of that.

You can kind of see as you look over to the left.

Look first here, and then up there.

This has it on, this doesn't, now it does.

It just smooths out, gives quality to the colors, and it makes it so when you work something into it, you have something to blend into.

[soft scraping] Now the middle of the sky-- gosh that's nice-- it looks like a sunset.

Okay we'll sign it, we'll see you next week and on a new painting!

I almost wish.

Oh, so I'm wiping a little harder.

So the reason wiping harder is so that it's dry when I put the lighter light on, it'll show up quite well.

Wipe harder in the water.

Love that blue feeling.

Okay now as far as what I'll do next, I'll start with some greenish tone that we had put on just like earlier.

Okay this is Permanent Green Light, in the acrylic stage, this is Cad Yellow.

The difference now as I look at the little pochade is that I will probably use some of the same colors but just a little bit less so we make use of what's been done previously.

That's really why I do the acrylics first.

I just love the acrylic.

You can do oil on top of oil, but I like this technique.

[soft scraping] Okay, this is the yellowish green.

And I'm starting right near the center of interest so that I can build up and then let her highness sit in her throne.

I'm just wondering, and when I say that, wondering, is, should we put the queen out there early?

Or should we do everything and then come to that.

This time, I'm feeling let's put the highlight in first and then we build up to it.

So this is white, and we'll just a little yellow, Cad Yellow.

More.

I want to check it there and check it here.

When I hold it over here I feel that's a little cool, so... You're cool, grandpa!

Thank you, Chad.

Oh, I have to tell you about Chad.

What a great grandson!

He came to visit us and he'd say "Grandpa!

I love you infinity!

I love you infinity!"

And all through the day, then one time he wanted to come up to the studio, it was time to eat, so he couldn't do it.

And I said, "No Chad, we can't do it now."

"Grandpa, I love you zippo!"

So he went from infinity to zippo.

Now this is going to be early.

By my saying that is, I can still come back and go closer to white later but we'll chose to do that later.

All right, let's put some color on the distant green, and I'm looking at-- this is-- what are you?

You're what you are, Permanent Green Light, then I'll come down here to umber.

Mix the two of them together.

So I would call that...no I'm not going to call it that.

I was going to call it equal parts of umber and Permanent Green Light yes, but I need to have some yellow in there too.

So it's equal parts of yellow, Cad Yellow, Permanent Green Light and Burnt Umber.

See, it's not much different than what's there... [soft scraping] but now it's oil, and it's wet.

So you can see can push it in just a little bit.

See the softness?

I really love that edge.

And we'll come over closer here.

This doesn't have quite the amount of dark area as the pochade had.

[soft scraping] Ah!

That's great.

And I'm going to go across just a little bit across the trees.

And then when I put some dark on the trees, you'll have a little variation rather than just a solid dark tree standing there.

The neat thing about doing these shows is I discover ways to approach things that will be helpful in the future.

And that was one right there where I let the green come across the tree rather than just putting in the dark tree and then later just touching some darks in, so we'll see if that works further.

We'll come over to the left side, and I'm starting down low and working up, and I'm working next to the tree.

When I come across a tree, I want to make sure I don't have much paint on the brush.

Okay more in here.

Oh, this is so much fun!

It's fun to do something that you know what to do, and it's fun to do something where you're doing it for the first time.

This is first time.

Down here a little bit more, and you can see what this does too.

Previously we had I could say previously on 24, because these take 24 minutes!

[with deep voice] Previously on 24.

So I had some palette knife work on there, so this just comes across.

You still see the palette knife work, but it's more subdued.

Okay, now I'm coming across the trunks of the trees just a little bit.

Okay I want to take-- you need to be cleaned.

You need to be first into the bath.

Oh, you were first to the bath, but you sure messed it up.

You know, when you go to the Walnut Oil, if you just dip in and pull out and wipe off rather than swoosh around, which I almost did a little swooshing.

Okay, I have a relatively, we'll say a dry brush.

[soft scraping] Um, I love it.

I showed one of these pochades on Facebook, and I said this is one of the paintings that I'm going to be doing on the next series, and you cannot believe the response that I received.

"Oh we love it, we love it Buck!"

People are looking for new ways to paint and this certainly becomes one.

Now see, after I went through the light there, I had a little left on the brush, and that's fine.

I'll just kind of use it, but not as strong as it might have been.

So what do we do now?

Let's go on with the water, then we'll come to the banks.

The water is pretty much what we have there, is the blue and white, so we'll take this-- how about we use a little Ultramarine Blue.

Which one of you are Ultramarine Blue?

I am!

No, I am.

You are.

There we are.

So it's a little more grayish blue than the Phthalo Blue.

So we're putting this on and making use of the Phthalo blue.

And when I say making use of it, it's still showing through.

You can see touches of it.

Now, as I go to the left and right down by the stream, I have a little Phthalo Blue on the brush.

Oo, that's absolutely beautiful.

Oh I like that; I really like that.

Do you like it, Buck?

Yeah, I really like that.

Okay, now the lightest light.

It would be helpful if I used just a little of the Phthalo Blue and white to just kind of soften that slightly before we put a highlight on it.

I'll push it out just slightly with this other brush... brush Mommy gave me, Mommy and Daddy.

Okay now we always have to have light travel in a straight line.

And I've told this before where I'm looking down at the ocean from up on the cliff, and the sun's coming right towards me.

And I see a jogger coming.

He's coming, he's not in the light yet.

Now he's in the light.

When I go down the beach, I'm always in the light and it's really to the viewer, that's why if you're painting someone running on the beach, you still have the light come towards the viewer, the person looking at the painting.

So now this is all leading up to straight line.

Here's where my lightest light will be, and I need to come straight down so this has just a little adjustment over to the right.

And you can have a little sparkle there too.

That doesn't detract from this down below.

And I'm taking the knife and just kind of pushing around.

It gives a little accidental water movement.

And then very strong white.

White.

Now, all of that is suggesting I need to be lighter in the sun area, so I'll come up to that.

Straight up.

You really need to measure.

Sometimes I'll use a brush, hold it on the side like that and then you come straight down.

♪ Do do do do do.

Good job, Buck.

You did it.

This is the real light.

As we said in stage one of the pochade, the acrylic stage, we said you need to have some light up above.

So I have white, this is just a little yellow and green right up in here.

I'm putting that on with a brush.

I have a little quantity on the brush so that it doesn't mix in quite as much as if you were using less paint.

Now, let's see if there's other places that might have.

There's some over here.

Am I still on camera?

I've moved clear over here.

Okay, some down through there just sparkles a little bit here and there.

This is always a nice effect as I look at the pochade and I have some yellow on there too, just a little bit, kind of accidental little ones, like that.

Often after I've done that I'll take a palette knife which is blank, [scraping] I guess I could say empty, blank.

And just soften those in slightly so they feel like they're sitting there.

Not the sun, I'll leave more of the texture on that.

Come over to the right side, hit a little bit.

Okay now, let's look at the bank just a little bit.

I don't want a lot of change on that.

But I'll take some this green, this is the Sap Green and umber and white.

Just a little bit-- I don't see that there though.

Why are you doing that?

Well, I see a little bit.

And some more in there.

This is a nice one, because it has a graceful feeling of coming over there, then there's a little green past there.

We'll have just a little bit of rose color.

This is Quinacridone Rose and white.

More rose.

Ah gosh, that isn't straight rose so we put a little Ultramarine Blue with it.

Yes, I like that better, okay.

This is what I'm looking at.

And we'll come over to the other side.

The complimentary color is so helpful.

There's another one I want to show you.

This is Dioxazine Purple.

No you're not Dioxazine Purple, You are Dioxazine Purple.

Boy, you look alike, but you're not.

This is another nice color for the enhancing of the greens.

And it relates real well with the reddish tone that we put on earlier.

Okay, now we better, oops, take a little paint remover, little green.

Now let's go ahead with some of the strengthening the trunks of the trees.

I have two brushes.

This is a round brush, and you are a flat brush.

We put some Van Dyke Brown already there.

Now, when I'm doing it this time, I'm selectively finding places to put it on, on the trunk.

So see how that's a disconnect, a disconnect there.

Just beautiful.

Okay more on this guy.

And you can soften it a little bit by just a little bit of a blend towards the-- that's the left, yeah, towards your left.

If you didn't learn anything else today, you learned directions.

Down there, and there's a little one in here.

Where are you?

Right there.

Oh, the green was covering you a little bit.

Let's put some on the other side, and then we'll come back and use a smaller brush.

This one you're putting the dark on the left side of the trunk's branches.

Okay, let's use that small brush first, and what I'm needing to do is put some of the small branches on, but then I need to put some highlights on the tree trunks too and branches.

Yeah, this is a much easier to do with the smaller brush.

Oh, it's so quiet out here in the woods!

Yes, Buck, keep it that way!

Oh, that reminds me of when I was in the army one time.

Do I have paint on my nose?

It was basic training and the sergeant came up to me and says "Soldier, don't talk with your mouth full."

I said "it's not full, Sir."

"Keep it full!"

Well, oh, okay.

Basic training, they can be a little tough on you and get by with it, at least in the olden days.

Okay, now let's put on some light in the trunks, then we'll do just a little accidental work here and there.

But I like the way it's working up.

Let's see, what color should I use?

You tell us, Buck, you're supposed to know this.

No, I'm doing this for the first time and you can see I have no notes!

I'm not bragging, I just, it's great to be inspired.

My art teacher directs me still, even though he's on a higher plane.

Oh this is good, I like that.

This is Yellow Ochre and Van Dyke Brown.

It's a building case, so that after I put this on there may be places where I'll go a little lighter with it.

What's so neat when you do these shows, I mean, I'm discovering things that I hadn't really intended to do.

It's just, it's exciting, and I hope you approach painting like that.

Please yourself!

Remember we had a little introduction on one show that said please yourself, because you may have to live with the paintings.

Well, please yourself so that you want to live with the paintings.

And it's nice to get approval from others.

But oh, there's so much joy in doing them.

Okay now I need to just take a little look-- oh, this guy over here could have just a little bit more of a small tapering one.

That's pretty heavy.

Okay, let's put some highlights on, and looking at the pochade, I have some good highlights there which kind of balances the light on this side.

So I'll take a little knife.

Did you see how I filled that, that knife?

Snowplow.

Snowplow.

Oof, get those roads plowed, then you can have a Saturday night bath!

Oh, great winters in Minnesota.

Hum, hum, hum, hum.

They're wonderful people.

I always enjoy meeting somebody from the Midwest.

I don't know what there is about that.

A lot of you people, I've enjoyed meeting all of you, but there's some real special people there.

Oh... unless all of us moved out.

Let's put just a little bit of red on that one too.

Okay, I want to just quickly, we've got just a few minutes left.

Let's take some, this is greenish yellow and so on.

Greenish yellow and white.

The "so on" was white.

See this puts just a little vitality into the greens that are there.

And over on this side.

This, I'm filling this, the full knife and then just kind of, instead of tapping on, I'm kind of a pull and drag... like that.

Okay, we're just about finished with "The Quiet Stream!"

Don't you be quiet.

You write and tell me how you like the show.

How you like quiet dream; stream, quiet dream.

Oh, just a little extra light, little extra light.

Do we need to go just a little bit?

A little stronger up there.

Oh, that's been fun; that's been a nice experience.

I have enjoyed being in your presence today and learning with you how to do a painting from a pochade with a lot of color and splash.

See you next time.

Bye-bye!

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