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We're doing stage two of "The Rearing Horse," and that means we're doing it with oil paints instead of acrylics.

Let me show you the finished product.

Here we have this horse rearing up in the sand in Santa Barbara against a very soft sky, and the waves keep coming in.

Over to the right, we have the finished acrylic stage.

So this is all dry.

You've had a week to dry so it's ready to go with the oil paint on top.

Now, there are some artists that would just take and go ahead and finish it with acrylics.

There's some artists that would do this stage in oil and then complete it in oil, and then there's some artists that do it the way I'm going to do it.

So I'll take some Walnut oil with a large fan brush, push this around a little bit, and then when I say push it around, it means you just get some on the canvas, and then the paper towel will spread it out a little more evenly.

We're going to give this a Saturday night bath, but it's going to be a different color, and I'm picking up Ultramarine Blue.

What makes you decide to use one color over the other?

I don't know; it just seemed right.

It has a little bit of a coolness to it, and I knew that the Ultramarine Blue would be cool.

It's cool to use.

[soft scraping] And that as well is where it's just on and then we'll push it around to soften it.

I feel the blue was a good choice.

It's already sort of moody.

[soft scraping] It's nice to come to a canvas without a preconceived notion that this is what I'm going to do.

It's almost like you hear, somebody said, "It's your idea?"

No, the artist angel is going to tell me what to do.

[soft scraping] Okay, so what I feel will help now is if I go ahead and start by putting some lights in the sky, and you'll notice that it takes very little paint, and the smallest amount of paint will give me the contrast that I desire.

So I'm looking at picking up some White and Raw Sienna.

The nice thing about this, I try to stay pretty close to what's there so that you get an idea of how to paint that painting, but if it has a little variation, I have no problems with that.

Okay, this is Raw Sienna and White, and I have a fan brush.

Yes, I'll keep the fan brush.

I'm starting out away from the horse so that I can soften it towards the horse as well as go out and achieve a little bit of character on the far left edge.

[soft scraping] I'll let that set for a while then I will come back later and blend it a little bit.

We'll put some over in here, and when I say a little bit over in here, I am suggesting that it looks a little bit like a cloud.

Doesn't it?

And then I'll come on the other side of the horse.

When I look at the original, I'm seeing that the light doesn't quite touch the head.

I'm wondering why that's that way, but we'll do it.

So we'll start out here, and we won't quite touch the head, but here we do.

I'm changing brushes.

I'm using the same color, but this is a little easier to get into that area with.

Great.

Good choice!

[soft scraping] Okay, now when I look at that, I feel in this area I need to come down a little bit and touch against the water so we won't have any sharp horizons out there.

[soft scraping] We'll go ahead and use some of this same color and I'm going to change it just a little bit.

So is it the same color, or isn't it?

Same color, but we're going to add just a little bit more White and a little bit of Viridian Green, and this will give me some color over on the splash-up foam.

Always watch your quantity.

I was a little generous there.

I didn't want to be generous because when I go to the edge, I don't want any sharpness-- more softly done.

So I'll just turn the brush around, which has no paint on it; just softening out what's there.

Boy, that's pretty.

I like that feeling of that foam against that rock.

A little bit of extra paint; I dashed down and got it.

Comes right against the horse's rear end.

And a little bit in front of that rock.

Okay, same thing there, I'll let it set for a while before we blend it.

Without any extra paint on the brush, I've just used the-- what was it?

Raw Sienna and White, and I used it there.

We had a little green in it here.

So when I come over here, I haven't added any extra paint to the brush, because I don't want very much quantity to be there, But as we said before, I'll have to use a small brush to-- you just happened to be in the other hand-- to put some of this through here.

Oh, and you had the right paint on it!

Oh that's great.

Let's go ahead, and I need to pull in a little closer to the snout there, the muzzle.

Let's go ahead with the mop brush.

I want to make sure that it is clean and dry.

I know it's clean-- but boy, it wasn't clean-- sort of clean.

Okay, we'll blend the clouds.

[Buck hums a tune] For now, I think that's going to work.

The question I have in my mind is, should I go just a little stronger there?

We'll wait and see.

I lost a rock.

I found a rock.

All right, rather than go right to the horse, I'll take and push around some color on the background, the cliffs.

I have, let's see, one of you are what I want.

Okay, this is Van Dyke Brown... and it works like a glaze.

So you're just putting it across, and then we'll work a little gently into the glaze.

[soft scraping] Let it come down upon the sand below.

So you might see where it ends, but it's not overly complicated, dramatic, sharp.

Over on this side, the same idea.

I think what I better do is run to the horse.

Even though I'd love to put the foam patterns in, let's do the horse next.

What should we do on the horse?

You ask.

Well, if I have-- this is Payne's Gray and White.

What else do I put in there?

Maybe just a little Yellow Ochre, not much.

Let's see what that looks like.

No, it's a little green, so I'll add more Payne's Gray to it.

Payne's Gray and a little White, so it does have that touch of Yellow Ochre in it.

The acrylic color was so helpful.

We can use so much of it as is.

Oh, why'd you go back on the tail?

Missed!

I was aiming over here.

Nice muscle in there, and that nice muscle has a name.

You look it up.

It'll be on the final test!

Okay, then let's go up just a little lighter with the same color, so I'm adding a little more White in it, and this-- see how it's just a little bit lighter?

Love working towards the light.

Lighter, lighter, light.

And then this will come down on the legs, as is.

So we don't have any oil paint on the legs until now, and this is with the lighter color.

Okay, what about back here?

A little bit lighter, And then we'll go ahead and put these darks back in.

That's, Burnt Umber, I'm taking you.

I'm trusting you will work for me.

And the nice thing about the Burnt Umber, it will soften into what's already there, and then we've got this little zigzag.

And somebody would say what the muscle is, not just "Hey that's a zigzag."

A little bit down there, a little bit here.

These all need to be blended a little bit.

If you send your boxtop and money, then you can get that brush!

Going up higher with the Burnt Umber on the jaw... and just the smallest semblance of an eye.

A little bit, the nostril.

Now let's go out with a little bit into the sky with the fan brush.

Let's see.

Do I want the fan brush?

No, I don't think I want the fan brush.

Okay, I have Umber, and I'm putting some of this into that gray that we have-- the Payne's Gray and White.

And I'm first just placing some on... and then I wipe the brush... and then you just let it come out a little bit.

I turn the bush when I want it just a little wider down lower there.

I feel that I should have some Ultramarine Blue-- just a little darker there, and I'll blend it slightly so you don't see quite where there is an edge between it and the mane.

I'm going to put just a little outline on there to sort of make that just a little more graceful.

Okay, when we do the tail, we're really looking at the same approach as we did up on the mane.

I'll come back to the mane maybe with a mop brush.

It's so nice to be able to do these shows.

We always wish we had a few extra moments.

Don't we?

But it works great.

Now I'll take this brush, which is dry, still not really clean, and just bring out just a little looseness on the hair.

Okay, I want to put a little bit of this light color that we put on the body of the horse, just a little bit on the face up here.

Okay now, we talked about using a blender brush, and this will help.

It's so much fun to watch something develop under your hands.

I keep feeling I need to have more of that Umber, I put some-- not Umber-- I mean Ultramarine Blue.

I put it there.

I want some up in here too.

Okay now, what I need to do is to take-- see, not what I want to do-- what I need to do-- is take some White, and this is some of the foam color I had, the Raw Sienna and White with a little bit of blue in it, and I want to put on some foam patterns.

These have a feeling of flowing from the left down to the right.

I'll soften these.

We're just placing them on.

More, more, more.

Some in here.

This is a nice silhouette against that side of the tail, so the tail stands out more vividly.

I'm going to slice in just a little there to make the leg a little more tender.

As we mentioned before, you know, once you get these foam patterns in, then you can decide if you want to put a little openings in them.

I need to come through the legs there.

I need to come right up to the leg, and there's one down in here.

Okay, I'll take and blend those with my mop brush.

Changed my mind.

Going to put more on first.

Okay, now let's go ahead and mop it.

It seems like there should be some kind of music-- foam painting music!

Well, my wish is not somebody's command-- obviously.

So let's go ahead, blend the other side just a little bit... and this side.

I'm going to round that just a little bit so it has a nice curve on the tail.

Oh, it's such an exciting thing to paint various subjects, and you go with the idea of what am I going to learn from painting this?

That is so much the joy of painting.

Okay so I'll try just a couple little openings.

What do we have?

Viridian Green and blue, Ultramarine Blue, a little White.

See what that looks like.

And after you put these on, you may have to come back and mop it just a little bit to soften it so you don't have too sharp of openings in this.

Now I'm going to take the palette knife with some of the Yellow Ochre and White-- no, that's Raw Sienna and White.

Raw Sienna and White-- and come down in this area with good quantity.

[soft tapping] That's real bubbly foam which you find on the shore edges.

Let's take just a little bit of-- where are you?

Alizarin.

What do you want to work with, Alizarin?

Do you want to work with Payne's Gray?

Okay, Payne's Gray, Alizarin and White.

Just putting a little surface on the rocks.

But I really like that idea of the-- what is it called-- Saturday night bath?

It is really fun to work into, because everything's just a little moist and you can make just a little blend.

Some up here.

Some down here.

And course, there's always the shore there too.

I'm taking Raw Sienna and touching a little bit into that Alizarin and Payne's Gray.

This just takes some of the rawness away of the acrylics.

Okay while I have the paint on the brush, let's see what happens here.

I kind of wipe the brush, so it's got a little influence there.

See now we can kind of push out just a little bit, a little softening of that edge.

And I think in softening that, it would call for-- let's take Burnt Umber, I jumped across Burnt Umber and come up and make this just a little darker so you have an underside of the tail, the shadow side.

Let's see if there's anything else we should do.

Maybe a little dark in there, this is good, a little touch there.

This could be strengthened just a little bit.

This, just angle up a little bit.

This is there, and it also goes up just a little higher.

A little bit more on the chest... and make that nice bottom of the jaw.

What about out in the-- we did this earlier.

So let's just see if we can go just a little bit darker.

Then I want to just sweep that slightly.

It will soften it a little bit.

Oh, I like you!

I would ride you.

I would prefer riding you over a cow.

I had this, when I was older, I would share with my father and we had this horse called Chico.

Oh, it was a wild horse.

Anyway it's been great doing "The Rearing Horse" for you, and I hope the instruction here will help you in painting yours.

The tracing is such a help, but maybe you want to make it a palomino.

Whatever you want, but it's a lot of fun.

Do it!

Do your best.

Bye.

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