You meet a lot of different people at the airport, especially if there's a delayed flight!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ We're going to fly today, aren't we?

Of course, before we fly, I'd have to go through the little tester-- it'd go beep, beep, beep, beep-- with an artificial hip!

So the airport would come and give me a massage which feels good, hope you're all right Mr. Paulson Okay we're going to paint!

And what we have is the second part of our "Salty Sea."

This is stage 2, this was stage 1, which was done in acrylics last time and I have put Walnut Oil and wiped it a little bit so it's just the thinnest sheen on it.

I'll start by putting a little tone in the sky, and that gives us something to work into.

So you are-- you are what you say you are.

You're Thalo blue.

I wonder if I want you.

Thalo blue, let's put a little Payne's Gray in with that and see what we have.

This is meant just to kind of tint the canvas a little bit, it'll add a little blue color into it, then it'll have something soft for the clouds to work into.

And the neatest thing is, I don't have to do exactly like that.

I'll come real close.

Have no fear of making mistakes.

And what is a mistake?

I mean, it's something being done different than you'd planned?

It may be serendipitous that you gain knowledge in something going a little different direction.

Now, I have quite a bit in the middle, which I'll wipe in just a minute but I like the way it's thinning out on the sides, so I'll continue with that, then we'll take the paper towel and just blend.

When I'm doing this, it removes a little bit so some of the previous acrylic shows through.

That is beautiful!

See, I like that, very much because it's very gentle, this one it doesn't have that gentleness.

So you may be the model for the next one instead of that one.

We'll see, I can't promise you anything that's just like telling your kids "If you're good, we'll go to the circus.

Well, we're going to the circus regardless."

Anyway here comes Raw Sienna and white.

I don't want to be too light.

When you see the original painting of Salty, you'll see that the sky is kind of secondary.

Oo, that's pretty, but I put just a little more Raw Sienna in; going along with what I just said about not being too powerful in the clouds.

Okay I have a fan brush, and we'll take this up, and this almost has a place for it, doesn't it?

It suggests it's right in here.

I'm going very soft with this, it's not quite as golden.

I like it, just a little more genteel.

It's easy to say, you have all these answers ready just in case something doesn't go the way you wanted, Buck.

That's the way I wanted it, yes.

I'll leave it like this, and then I'll come with a blender in just a little bit.

I have kind of a balance.

You're going to have the big wave, I can show over here more.

The big powerful wave balanced by this cloud, whereas that one is just a little more distant, so it doesn't just kind of make that stand right in the middle.

I know what I mean!

It's not static, okay blender.

Here's a mop brush.

Remember, we have that little tone on there that this is blending into.

So as I thin this out, it works blending into a paint rather than if it had just thinned out on a dry surface.

It has more of a blend, softer blend.

Okay I'm going to come right down, push a little bit over there, I'm going to come right down the middle of the canvas, top to bottom.

So I have some highlight I want to put on, but let's do this first.

Let's take a little bit of white, and I'm using the color that we put on the sky first, the Payne's Gray and Thalo Blue.

This has more white in it and I'm pushing this on to represent a little bit more that spindrift.

If I take a paper towel and kind of blend it, see a brush might spread it out too far.

I want it to hold it in place.

Same thing over to the right.

A little bit of the spray going up.

Notice the direction, it has away from the wave, the wave's coming in, the mist goes back to the right.

What about down below?

Let's wait a while on those, let's go ahead and take those.

So now we'll put some highlights on the big wave and I'll use the fan brush too.

Let's take the white and the cloud color, so I'm mixing more white into the cloud color and I'll hold this up again.

That looks pretty good.

We can always in stage 3 go on and go even lighter if we want to.

Okay very dry brush and I'll tap this on-- where are you?

Oh there you are, tap this on.

As I tap, it creates the edge of it, tap it and then you're going to soften it to the right.

More, and when I'm doing more, as I look back and forth on those, I think that one has just a little more of the golden color in it, it won't look quite as icy.

One more down in here.

These can be just left that way momentarily, so the more it dries and settles in, then when I blend it, there's more control, I won't lose it-- if I blend it now I could lose it a little bit.

And I would really lose it!

If it doesn't work for me I'd lose it!

[laughs] And you might ask, have you ever had any failures?

Yes, but as far as when you teach you're pretty close to the best.

I mean, you stay pretty close to what you have planned.

But there's always somebody that will say, when they're doing a workshop, say we're making this painting together in a workshop, they'll say "How do we get ours to look like the original?"

Well when they're trying to do it in one day, you say gee you know, you just about need to take it home and when it's dry then put just a little more mist or something in.

It's a little bit limiting if you can't have drying time in-between for glazing and so on.

Okay, let's take the mop brush, and I'm going instead of just mopping, I'm going to tap it more on the side of the brush, so what that does, it kind of right in place smoothes it out a little bit... without advancing it to a different shape.

This one just a little less high, this one a little less high.

Then generally after you've done that, and I won't do it now because we have stage 3 coming, is that we'll go lighter light in there.

This one, you're kind of floating out there, a little piece of ice.

And the minute I wipe that, you know what it was saying?

Buck, don't forget to use the paper towel when you do some of the blending.

And that's nice because you can almost remove a little bit as you blend, and you're diminishing the amount that way instead of stretching it out further than you want it to go.

And if you're open to little suggestions like that, I guarantee you that they come.

All right, I like that, I like that very much, especially with the little extra paper towel work on that.

Okay, now on the water, let's do this, let's put a little bit of-- where are you?

Viridian green and white.

I'm going to hold this up there, but I think... ah, maybe just a touch of yellow in it.

Viridian green, white, and a touch of yellow.

In my opinion it works best if I put the foam in first and the rocks last, so if these were wet rocks, I'd be banging into them, but now when they're-- I can put the foam against dry ones, then you can come out with a little dark as needed.

Okay, what color are you?

I sure like you.

Let's take some of that, that's the green and white with just a little yellow-- that looks like a nice little light to keep adding on top here.

Get you up there too so your neighbor will be a little jealous.

How did you get that nice color?

What store did you go to?

Same one my daughter goes to when she buys my shirts.

Panda is a jewel, oh she's great.

It's nice to have the support of your family.

I have such a wonderful wife, she's just, oh... very supportive.

There's only one time when she lost it, I had a picture with a sun in it, and she came up, and she said, "Is that wet?"

And I think she realized she made a mistake, and she took finger away-- she didn't need me to answer it.

Yes it's wet!

You just removed my sun!

[laughs] But that's long been forgiven.

Like I'd never made a mistake.

Right?

Now notice this-- there's kind of water coming down there, we didn't have that on this one, but we surely need it.

And just a little highlight here kind of in-between those 2 rocks; push this around.

Now, what I think what I'll do I'm going to put in a little bit more of an eye, and then we'll do some foam patterns.

Okay, so more of an eye, here's Viridian Green, we were just using Viridian Green and white so we're using the same thing but just maybe a little bit darker.

So that still looks like it's one green, make sure, oh 2 green, 2 Viridian Green and 1 yellow and white.

Okay, so this is for the eye.

Remember last time when we were doing the acrylics, we mentioned the acrylic, you put it in, you have to blend quite quickly.

Here, because it's oil, I can place that on, I can place one back there and I can place one over there and I could actually go on to something else and come back to that, but I'll go ahead and blend those just a little bit now.

Wiping the brush, not cleaning it and kind of flat, and what's happening is, I'm just blending out on a dry surface because that color is pretty good that's in there.

It's very helpful when you can make the acrylics do more than just be there.

They're not the cheerleaders, they're part of the team!

They're part of the traveling squad.

Okay, on the other side.

Nontoxic paints in case you're wondering about my using my finger there.

Okay let's do this, let's take and go with some foam patterns.

I think the first thing I'll do is take, this is the color we put on the foam.

Where are you?

I don't see you.

Okay you're here with just a little Alizarin, are you Alizarin?

Yes.

Alizarin and blue and white.

Now I just want to go over to next week's painting; that's pretty close.

It needs to be just a little more blue.

So that's blue, Alizarin and white, and this is going to be kind of the loose trough foam.

I'll put this on, then when I wipe, you'll see that it's a little smoother.

Okay now, this is the wiping.

It's on a dry surface so I can control it quite well by wiping.

See, it has the influence and the mist but it certainly doesn't take over.

These are sort of horizontal strocken.

"Stroken?"

Okay, that works, now we have enough time to take-- this is a liner brush, and I want to take and use some the Walnut Oil with it, so I'm taking sky color plus white, and I want to go just a little higher into this area with some foam patterns.

So these are shadow foam patterns.

And eventually we'll even go lighter down on the first area that we placed.

Notice they flow the same direction.

That is the thing that I try to get across when I'm teaching seascapes.

That you have a same direction, then a variety of sizes, and sometimes you accomplish a variety of sizes, like this one doesn't have a lot of variety of sizes so I've taken, flattened the brush and push around a little bit like that.

More paint.

They're quite easy to correct once a person has put them on if you need to make them smaller or larger.

If you need to make them smaller I'll often just take some of the dark and erase a little bit.

We'll probably show you some of that in stage 3.

Okay, just a couple over in here.

There was one place I taught, I may have said this before, but it was so much fun, they would have every visiting artist kind of do one of his favorite subjects on a-- oh, poster board I guess it was, it wasn't a canvas.

So I did a quick acrylic ocean, then all the foam patterns that I put on would spell, for instance here, so see that foam pattern?

It says Buck!

So I would do that they had Jill and Tom and Barbara and Frode and so on.

So it was really fun to do that, then the people would discover what was done and feel good about it.

Okay over to the left, that's in this lightest area, I'm going to go with this is white... white and Yellow Ochre.

So see how this is lighter than what's there?

So you have some light foam, and then you have this on top.

Once and a while, particularly in the center of interest area, and when I center of interest, the center of interest is really the big wave going to hit against that big rock, but the eye is important and then this little going a little bit of extra light in there is very helpful.

So you're always thinking of form, and in this case, you're thinking the lightest light is down in there, then it goes into the shadows, so I wouldn't paint any of this up high.

If foam goes up high, it's a darker color as it does so.

I think that'll be enough there, let's see.

I have a little bit of this lighter color on, I'm just putting this on in places where it might need a little more height to it and sparkle to it.

Let's go on the rocks a little bit, we have time to do those.

This is what?

You are Van Dyke Brown.

Van Dyke Brown, and I did dip in to the... What are you?

Into the Walnut Oil.

I'm doing this as a glaze so that I have something wet to work into.

[soft scraping] Not much down there, not much there.

Okay, I'll wipe where I had the previous lights.

Ten we'll add light into it.

The reason for doing this, it kind of brings everything down a little bit in value, then when you wipe, you have kind of a secondary value of lights, then we can have highlights.

See on this one, you have just-- they're kind of all the same value there.

Okay, so we'll start with the lights, let's go with the Raw Sienna and white.

I just brush-mix, it's about equal parts.

We have one good rock here.

Oh, you're all good, but one highly lit rock right there and one here.

I'm wiping the brush and just taking a little bit of this, kind of working a little secondary lights into the rocks.

Let's change our mind let's go, you're purple and blue and white.

So that's brushed-mixed, that's about one purple and one Thalo Blue and just a little white.

See, that that gives me a nice shadow color for the form on the rocks.

Yeah, that works.

Then what is kind of fun to do-- "kind of fun to do?"

Very fun to do.

Yellow Ochre and white, no you're Raw Sienna.

Raw sienna and white, and just put on a little stronger lights there.

I'm going to take a little bit of the gray foam, this is sky color, and just feel like it's kind of some shadow water up on the top part of that rock before it comes tumbling down, and you can always have a little bit of that feeling next to-- see that strong highlight-- we can have a little bit of the gray foam there too, shadow foam, so that's coming off the rock as well, but it's shaded a little bit by the rock above.

Okay, we are just about there.

I'll take one accent with Payne's Gray.

That is a choice little spot, that's a foundation for the upper areas.

So this has been stage 2 of "Salty."

This has been done with oils.

When you come back next week, you'll find me here, with oils.

We're going to continue with the oils.

We'll see you soon.

Bye-bye, thanks for watching!

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