Being one block from the ocean is great, but you can't paint from one block away-- go for it!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Boy, while I stand here, I think of different ideas.

So I'm going to give you one of those different ideas.

When I go up to the sky, which I want to put in first, I want to have a little bit of Blue.

This is Ultramarine Blue and Van Dyke Brown and White.

I want to put this in the sky so that I have a little wetness there.

Now let me tell you this.

I already have Walnut Oil on, so it has that wetness, but I want just the smallest glaze.

Can you see that little misty color?

And then when I go lighter, it will show much better, and it also has something to blend into, what we just put on.

So let's take some Orange and Yellow Ochre and White.

That looks like about what I want.

It's equal parts of Orange and Ochre and then White.

So I have this fan brush.

Are you going to use the fan brush again?

Yes.

So watch the little color that I add.

A little more vitality, but it has something-- the gray to blend into.

Okay, I'll take the bunny brush, the blender brush.

Just right.

Now, the thing that I don't necessarily see in the original, but I feel inspired to do it, is take a little bit of White.

I need to put some more White out here.

You're kind of needed.

Okay.

White.

So let's take a little bit of Yellow Ochre, and sometimes I call it "yellow okra."

One's a vegetable, isn't it?

I need just a little Orange in there too.

Okay, this will be even more than I see there.

Just a nice highlight.

See, that's the fun part of this.

I'm painting the original, and yet I'll deviate just enough for it to give you the benefit of the doubt.

And what I've done there that I want you to remember is, I put a soft veil, and then I paint into it.

Good.

All right, now I'm going to look at the big wave, and when I look at the big wave, you're going to look at the subsequent neighborhood, neighborhood waves.

So when I look at that, I want to have-- what should I put on there first?

So you kind of, as my students will know-- we build to the lights!

So I'm taking the Yellow Ochre and White, and then I'm taking some of this gray, which is the Ultramarine Blue and Van Dyke Brown, and when you hold this up you say well, I don't see that color there.

I don't either.

So I'll add just a little more White always with the idea that I can go a little lighter and when I look at this, look at the original, it's got little flecks of kind of an orangey flavor, but that's afterwards.

That's not put on first.

So let's take this, and we have this has Walnut Oil on, but it's not real thick.

I put it on, and then kind of wiped it.

So this is sort of put on dry like, and you're always thinking form.

Where's the light coming from?

The light in this one is coming from upper left.

So it would be striking the wave in that area.

Now, when I place this on, sometimes I'll just kind of pat it on.

Other times, I kind of wiggle it on a little.

The wiggling on is generally when I have less paint on the brush or want less paint on the brush.

This is a secondary splash, and I will put these on and not blend them as I go.

I'll put them on, and then we'll see when we want to blend them.

But any time they have a chance to set, they set up a little bit towards drying, and it makes it a little easier to control.

I really like this one.

This is a courier?

Is that what you call that?

Where you're leading the group along?

There.

Now let's go just a little higher on this one.

We'll put just the smallest amount out here.

Now, the principle is the same-- that you're putting lights on the top, and you have form.

So it turns into shadow as it's there.

So when I say the principle's the same, is meaning on the distant one, it's a small wave, so use small light, but you still have some of the gray for form.

Okay, coming down a little bit in here.

And I really don't have any over there, but I have one here.

Then we have--oh the rest of the places that we have the lights, and there's a lot of good lights, is not so much on a wave, but it's behind the wave.

Here, oh there's a nice strong one here, and this is the same idea-- it's the light that's behind the wave rather than on the wave, and then down front like this.

So I will leave that for a moment and the moment being that I'll go to a new project.

So I'm going to take and put on some foam pattern color.

And for the foam pattern we use a round brush, and when I do this, let's see, which one are you?

Gosh I hate to be choosy, but I think I'll take this one.

Just a little longer hair.

I'm using the same light color, and I'm using a little Walnut Oil in it, so it will flow quite well.

Do we need to blend that first?

I think we need to blend that first, at least in the trough area.

I won't blend the large splash-up ones, but this need to blend this just slightly softens, and you get a little indication of foam behind by doing that; so that's needed.

So I'm pushing this without spreading it too high, because I want little foam patterns to show, and they need to have room to be seen.

Push this over.

A little there, and same thing here, I'll take just a little paper towel and blend the edge slightly.

What are you?

You're a splash-up wave.

So you're staying alone.

Okay, here comes with the round brush, and I want to make foam patterns going up.

This is the previous wave... just a little curlicue.

Make sure they all flow in kind of a nice pattern.

And I can have some of this; see, I used that.

Now I'll jump over here, and this is the darker foam color.

So I'll have some of these as they're coming down in here.

What I try to do is have variety in the shapes.

Some are a little larger.

Some go a little higher, some don't, but the main thing is that they feel like they're on the surface.

You know, I used to tell a joke, and I remember it where I'd say early in my seascape painting, the people in Santa Barbara would say "Oh he's a very religious seascape artist.

Anybody can walk on his water!"

Meant it was hard and that.

They didn't say that-- I just made that up-- but it sounds good, doesn't it?

So you want these to feel like they can't be walked upon, and those right now you say well, you could kind of walk upon those.

But if I let them sit for awhile and then blend them, I'll have more control on retaining their character.

Okay, I'm still in the dark ones.

It helps to have, like what I'm working on, the stage 1 of this, and that's-- are you-- no you're stage 2.

Yeah that's what you are, but so when you do stage 2, if this is dry, it's a little easier to draw these.

And there's oftentimes when I might, after I've placed these on, you think, oh gee, I have a little too much there.

Sometimes I'll take a dark and just kind of dig a little hole.

We'll do that.

We'll show you.

Okay, what do I want to do down below?

Okay now, down below, I'll start with some over on this area.

See, they're all flowing the same way-- out, out, out.

This is a previous wave, and then as we go over to the right, which is in here, we want them quite light.

So I'm going with the lighter paint.

And this is the same paint that we put up there.

And these I find that they're just a little larger, and the best way to make them larger is, you come with this, and then you flatten the brush and wiggle it a little bit.

A little over here, not much.

You can, when you put them in like that one I just did, it was a little strange, but then just add to it.

It's kind of the awkward teenage years of this foam pattern.

He needs to have a little help.

Oh, there's gray ones over there.

And I think we'll put gray ones in here and up there.

And how many do you put in?

Oh, I've seen the ocean where they're just packed, just full, and other times not very many.

It's kind of a compromise.

I don't have too many, and I don't have too few.

Go up a little bit in here, and it's so surprising how well they go when you're on a dry canvas.

You can do it wet on wet, but it'll be just a little more difficult.

We'll put a little bit out here.

Then you have really the magic of movement.

Doesn't that sky look good?

Looks great.

Okay, let's go ahead and blend the foam patterns.

And you would ask how heavy or how firm do you blend those?

It depends upon the canvas; I don't know in advance.

So I'm always going to do it the lightest I can and then if I need to increase it, I'll do it.

That worked very well.

I'll keep wiping the brush so I'm working with a relatively dry, clean brush.

And I found even with this see, I'm putting this brush, kind of blending, but if I even kind of just drag it out slightly, then that helps too.

So this brush is more than just the blender, it's also a contributor.

Okay, we'll blend down here.

I don't quite understand you.

The thing that I see when I look at the original I see light there, but it has just a little softening as it comes over.

And certainly you can paint however you want.

If you want to do it acrylics first, total or not at all or you can do the oils, you know, straight.

If you want to do it direct painting without the in-between stages you can do that too.

You find what works best for you.

Okay, I'm softening these down.

Here we're pulling it, because it shows the moving water, and then up in here I kind of feather around so you have kind of a variety on the edges-- that is so helpful.

So everything doesn't come down just the same, and it's a lot like painting skies.

You know, you say oh, I can see a little lamb up there, or I see an Indian chief-- whatever-- that helps.

Just so you get some variety in everything you're doing.

And notice how much less paint is over as it goes away from this.

So that's very misty, filmy.

And this final one over on the side there.

A little bit there.

I'm going to blend in here just a little bit more, and see, once and a while when you blend like that, you pick up like this-- just a little-- need to get rid of that-- a little blending here... and here.

This is still a little strong.

Okay, let's try working with that.

So the next thing I want to do is, as you will notice, and I'll point to it.

We want some dark under the waves, and when you say that, you're selectively placing it.

So a little bit there, not much there, a little over here.

A little here, here, there, and this will be good, and then we'll go just a little bit to the big wave and then we'll go the rocks.

Now on the big wave, I'm going to-- let's put the darks on like we said first.

Okay, what are you?

You're Van Dyke Brown.

You guys, you gotta remember your names, because I can't just say "Who are you?"

You're Van Dyke Brown.

Put a little Ultramarine Blue with it.

That's pretty dark, but that's okay, we'll use it.

That is equal parts.

Actually I would say 2 Ultramarine Blue and 1 Van Dyke Brown.

And I put it on the brush, but I almost wipe it off.

Here's one.

Here, here, there.

I'll put these on, then I'll come bla--back [speech stumble; laughs] I'll come back and soften them rather than try to soften them as you go.

It let's them set a little bit and then you don't have to keep changing brushes so much.

Okay, a little bit under here.

And always thinking a little bit of variety, so maybe join a couple of those together just a little bit.

Here, there's a kind of a good chunk there.

That's a nice support for the light above it.

Here seems to come over there a little bit.

We already have it there; we have it here.

We have a little bit in here, and then we have another one lower, right in here.

Oh, it's so fun to do these shows.

I just love the opportunity to do this.

Can I say thanks to Prairie Public Television or can I say that on air?

[laughs] I love the people that work there I work with.

My director and producers and cameramen and gee, if I forget anybody else-- see the camera shake!

A little out there... ...and there.

Oh, a little bit under here.

Okay now, I'll blend those, and then we'll see about the lights on the big wave and also a little more on the rocks.

Now, the idea is to blend these kind of almost right in place so they don't advance much.

I do want to watch slightly at the top so I don't create a real hard edge there.

Now, these are helped a little bit if you kind of pull them in a vertical fashion.

It gives a feeling like a reflection.

I need to borrow some of you because we need to have a little one right in there.

Okay now, that's not very dark, but that's good.

Okay, this one we're blending just the opposite.

We're blending up instead of down.

Okay another downer blend.

We'll go right down through here.

I remember a favorite song.

Oh, my wife and I, we've been married a long time, and we had this favorite song "'Til" and no one knew it; never heard of it.

So I was just going to say one of the favorite songs I had when I was in high school was ♪ Five minutes more, just give me five minutes more!

♪ So that's the signal I got.

Five minutes more!

Maybe I'm not supposed to say that, but I just did!

This can be pushed pretty good.

And in here and back there.

Boy, when you start these things, you think oh my goodness!

How am I going to use all the time?

I'll have time left over!

Baloney!

Baloney, you're out here pushing, and I just put a little bit up there, just slightly like that.

Okay now, I want to go to both the big wave; I'll take some more of the dark, just pull slightly.

Do I have another fan brush?

Yeah.

I'll take you just because it's clean, and I want to pull this down a little bit.

See how you get that movement, that movement of the water by streaks, strokes.

Okay, I want to take a little bit of palette knife, and I want the, let's see, you're red.

You're Cadmium Red Light.

Oo, are you pretty!

You know, some colors know that they're pretty just like some girls, you know.

And they're very classy.

Okay, let's take this, and we'll go out here.

Remember we said we put just a little bit of the color on.

Color and vitality.

This one, you're just a little high.

I'll take you down slightly, and still pink is showing through.

And I think I'm going to take some of that.

No, let's take some of the orange tone.

Orange with the knife, and just come down a little bit into the water.

Oh, what a dancing quality.

Ah!

Okay, I'm going to take some of that same color that I put on here, and I'll just touch a little bit in the path, just a little bit in the path.

Okay now, on the rocks, I think the best thing to do-- they're quite far along.

We'll take a little bit of-- what are you?

Van Dyke Brown, and we'll just outline a little bit.

See, it's a skipping outline.

You go, and I don't go across it all.

Put some in there, just a little bit in there.

A little bit here because you need to show up more.

And get out of the way, Buck!

Okay, let's see.

The foam that we put on up there, I'll take a little bit of that, that's the first one, and we'll put some of this on the water.

And a nice spot in there, and then just for a little bit of help, I'll put a little more red in this light that we placed on.

Where did we put this?

Oh, we put it up in there.

This has a little bit more red in.

So just a peak.

Oh, you just jumped out.

You're taking over the whole show, but that looks great!

You knew what to do.

Okay, we have a little time left.

Just a little bit of this in there.

You have to have some there.

Oh, I see, we need to have a little bit of this pinkish light right in here too, because the sunlight travels in a straight line, so once you've establish where the light is, you really have to have a path of it down there.

I'm going to take a little Van Dyke Brown, just a touch, you-- you're a little too gaudy.

That's better.

Do you have any out on your friend out here?

Maybe just a little bit.

Okay, it looks like we've done the seascape.

I forget what the name of it is, but it's a good one!

[laughs] Thank you for watching!

I hope you've enjoyed it.

Let me see yours.

Bye-bye!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...