A man willing to start might make mistakes, but not starting is the biggest mistake of all!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ Willing to start, willing to go on, willing to go on, that's very important as well.

Willing to finish.

So today we're going to do part 3 of "Salty Sea."

And you can see on the easel is the finished painting, and it really has that quality, you can feel the drama, and yet you're not jarred by great contrast-- I like that.

This is the painting we're working on.

It has a nice beginning, but we want to put a little more quality in it and the way I'm going to do this-- by the way I've already put a thin Walnut Oil on this.

The way we're going to do it, we'll start in the sky, and I'll make a mixture, and what's surprising when you do these kind of stumbles or glazes, they're often look a little dirty on the palette, and then we come up, and we use a little bit and wipe a little bit.

This is Raw Sienna and white with a little Thalo Blue in it.

It has almost kind of a grayish green feeling like that, but I'll push this on and then wipe.

What does this do?

It'll just tone the underneath a little bit, and also if I want to put if I want to add anything to it, it certainly is wet.

Okay watch what happens when I wipe, dry paper towel.

What I'm hoping you're noticing is that it has just softened what was there a little bit.

In this painting, the wave is more important than the sky that's why we've chosen to downplay the sky.

All right, I'll come down just a little lower and we'll go with that mist behind that wave.

We've done it several times.

This is just blue and white, I guess you'd say no you're blue and white, Thalo Blue 1 part, Payne's Gray 1 part, then a little white.

It's very very small, I guess you'd have to say that's a little dark added into the white, so it's very very light.

So this doesn't change it much when it hits against there, but you can see it as it goes up, it's just a little more misty, and again, you're blending into that softness that has been put on just a few minutes ago.

Go up just a little higher, that goes up quite aways but it's not taking away from what's there.

In the back, the back wave we'll just splash that up a little at the same time.

It has just the nicest feeling of being a wave but it's not hard.

You wouldn't mind surfing there because it's not going to break your leg!

Let's do this, let's take the same color that we just put for the misty and I have the corner of the fan brush I use that a lot, I'm going to go over this a little bit and then wipe it.

It works a little bit like we just did in the sky inasmuch as you have a little wet paint there by putting that little veil over it and when we work highlight into it which I'll do now, it has something to blend into, so that's a nice way to control your edges.

What should we do?

I think oh gee, that same brush is so good.

So I will take white and then we'll use the Raw Sienna.

You're Raw Sienna, we want this to be quite light.

I'll hold this up to the original just to see if we're on target.

That looks fine.

Corner of the brush, I'm going the same place as I did before, just not quite as large.

So I didn't go all the way up there.

I'll blend a little bit so it goes up there... and this one and this one.

All right, now I'm going to choose to let those sit for a while, then when I blend them, they won't move around quite as much, they will have set up just a little bit.

And it's surprising, it can be just 15, 20 minutes and you do that, in our case, it may be 7, 8 minutes.

Okay I'm using the same light and do we need to put any-- maybe a little sparkle out there.

And the next row just emphasize it a little bit.

A spot there, and okay so let's leave that, let's come down now to the middle area and what I'm going to choose to do on that is also to give it a little glaze like we did in the sky.

Before we leave the sky though, let's go ahead and just strengthen a little bit, see we put that kind of veil over there, we wiped a little bit, and as we done here we put a veil on it wiped a little bit, but we added into it.

So we can add just a little bit into that cloud.

And I'll use the Yellow Ochre, I keep calling you Yellow Ochre, you've been out in the sun longer-- you're more tan-- you're Raw Sienna!

And when I do this, it's just the smallest amount, oops, you're a little light, so I'll use more Raw Sienna, boy, that's almost straight Raw Sienna.

So you have kind of a little balance-- you got the weight on this side, so you have to have a little bit over on the right side that balances this slightly-- and it doesn't take much.

Take the paper towel and we'll just blend a little bit with it on the lower edge, softening into what's there, and what's there is that little veil we put on the whole canvas.

Okay, let's call that enough.

So now I'm talking about the middle of the wave.

The same aspect of having put a little veil on the sky is going to be down here and this is-- you are Viridian Green and white.

And recalling I've put Walnut Oil over the whole canvas, so I can use very little paint and I can scrub it around.

It softens it a little bit there, it makes it just a little bit softer where the eye and the dark meet but I'm also going to push in-- now wait a minute, what do you want to do?

Let's come down and get more green.

This is Viridian Green, straight Viridian Green.

So I want to go in here, but see it won't be quite as-- and I'll wipe it a little bit, it won't be quite as smokey as if I'd used that lighter color all through there.

And over on this side.

Okay now let's get the paper towel out.

Let's get back here too.

And we're wiping just a little bit so you don't really see it, you just feel its influence.

Same way here.

Now, the other thing in this area where I am is, we'll wipe a little harder a couple places.

I'll point out on the original.

I'm going to wipe out there and there.

And often you can even add a little extra in there and that's what I'll do this time.

The extra is going to be-- let's see, you're Van Dyke Brown, you're Van Dyke Brown and a little Raw Sienna.

The Raw Sienna will make it so it's not too dark, it's quite dark though.

What that has done is, just not really emphasize the dark that much, but it's made it just a little warmer color so it doesn't look quite as hard.

See the focus now?

That is powerful, strong, beautiful.

There's one over here that's a little darker.

The back one is quite a ways away, so if I do anything there it would be just the smallest touch.

Okay what about down below?

I feel down in here we could use a little darks.

I'll take Viridian Green with a little bit of the Van Dyke Brown so it leans more towards the green.

Oh, I like that!

Why are you acting like it was an accident that you didn't know what you were going to do?

I did!

Are you guys are you still there with me?

Oh I'm so pleased that I have 3 times to do this painting.

It needs the 3 times, doesn't it?

Okay, let's go on with it.

What I'm doing here as well, when I put the dark down, I'm looking at the wave, and if I find any place, such as over here, if that's a little too wide-- and see from here to here it's pretty much parallel, or equal widths-- yeah that's parallel, isn't it?

I went to school.

Soften these down below, so you're adding some dark, and you're also kind of forming up the wave if they need to have a little change in them.

Now, I look right above, that's pretty-- has a lot of sameness in it.

So I'll just come into that just a little bit.

What about you?

I think the little darker green will work more than just the brown.

That's good, we might even have just the smallest little feeling of distant water back there.

Give more rise to that wave.

Okay, I'm using this dark green down in here, over here, there, then look at what happens-- I'll use that same dark green-- as I come various places.

Now, I want to point out on the original, see, there's openings so that will help if we do some of these, just spotting in some of this darker green as it makes that look more like little foam line there.

You always have to be cautious on these, that they're not too large, not too dark so that they don't start looking like a bunch of rocks.

And here; now I'm going to take that same dark green with the same idea and going up in this area.

See, I can go, there's already some openings there, but this just emphasizes a few of them.

Okay now, I'll leave that, and I'll come to the middle area.

We'll take, this is a liner brush, and I have Walnut Oil.

So this is Raw Sienna and white very much white.

I need to have more white, more white, more white!

The aspect of this is, by having just a little bit of a lighter light on top of what's there-- what was there was already light, but this gives us a little character.

Close to the rocks-- that's so dramatic against them.

Now I'll take this same color, and I'll come-- let me point out on the original.

We have some highlights on top of the wave here and there, so I'll put a little bit here.

I see one over here.

You're kind of guided by the picture too.

See this, I'm looking at that, but if this isn't quite the same, I say okay I think I'll put one here, I don't see it over there.

Here's one; some of these are already there, this just heightens their vitality a little bit.

Down here, and here, and this, we have one there, this just strengthens a little bit.

One I do not have is up in here.

So the light just before it starts coming over, it looks like a waterfall, it's light at the top of that.

Now let's put a little green and white, viridian green and white, using the fan brush again, to just kind of pull that down.

Great, I think I need a little more gray in there, so this is purple, just a little purple, blue, and white.

This is shadow, shadow foam.

See how it's coming off the rock there-- that's very nice; then along here too.

Okay, I have a couple other things I need to quickly do, then we'll look at the rocks.

One of them would be on the foam patterns going up.

They're going to be enhanced a little bit.

What color do we want?

I think I'll take, this is Thalo Blue and white.

And you often repeat things.

You often repeat things, see, I repeated things, didn't I?

So I already have some foam there, but now because I put on that veil, that scrub, I've lost it a little bit.

So this foam pattern that I've just put on really helps move around this way, and it certainly is a friend of the sky because it leads us right up to that cloud.

Okay, we don't have any of this brighter blue there, but this is another sentinel along the way saying "Come this way please.

You go out until you see the new guide, follow what he says to do."

On this side, we'll put some, but we'll have a little bit of more purple in that... so it's not quite as bright as this.

Very good, very good Buck.

It looks light there because we're going up into the dark area a little bit so it doesn't make it wrong, but see if I just compare-- see the darkness the difference between the two?

It depends on where it's placed as to what it's going to, how it's going to stand out in contrast or not.

Okay, I'm going to take a small knife-- you're the only knife I have-- a one-knife person, Yellow Ochre, I keep calling you Yellow Ochre-- Raw Sienna and white and a little Raw Sienna.

Now look at that.

It's just on the edge of the blade, and I want to use this to put a little bit, just glints in there.

And these can sort of oppose, see we want the foam, the wave to move this way but the glints have a mind of their own.

They're more horizontal, they're the sunlight hitting them, has nothing to do with direction.

Okay, I want to just, even though I don't see it there, emphasize a little bit the eye of the wave.

So I have a large flat badger brush.

This is yellow and white, just a touch of green in it.

Oo, I almost got up to the canvas that time, but I'm back down, put just a little more green in it.

All right, right in here.

This is not what I see there, this is what I want to see here.

It has such a nice blend, and it further helps the feeling of going this way, doesn't it?

You can say yes, I always appreciated confirmation of my decisions.

Okay, let's go to the rocks, and on the rocks I'll start with the Van Dyke Brown and want to make sure... that I have just a little accent, so when I do this, I'm not necessarily outlining the whole rock, I'm putting a little bit here and there, see, I skip there.

Just a little bit coming down inside.

Over here this needs to be just jutting out a little bit, so I'll push you out.

Then this fellow needs good strength right down there.

Let's go with a little more of the Van Dyke Brown, just kind of searching around; we can go in here a little bit.

That's a nice dark.

Over there at the bottom of this one... soften that so it's not sharp on the lower edge.

The corner one, just a little more strength, see, this has to protect this corner, so you stand there, and you need to be powerful.

Okay now, I'll take a paper towel, and we'll just blend a little bit with it, soften slightly.

And a little there.

Where else?

Down here.

Okay, now I want to take some color-- what kind of color do you want?

I wonder what the purple and white would do?

Dioxazine Purple and white.

Oh, can I get by with that, or do I need just a little blue?

Just a little blue as well.

Okay I'm going to use this.

I don't see it necessarily there, but it's such a nice shadow feeling of wetness on the rocks, and I think that, since you're going to be looking at this, the strength, the contrast and so on, it's nice to have the rocks dressed up too.

This is my Barbara rock.

Beautiful.

Okay, what about over here?

Just a little bit there.

Water's coming off there too because you see that spout.

Let's push that spout up just a little bit so it's been running just a little further.

Same color, the purple.

We'll push this on just a little bit here.

It's not receiving as much light as its neighbor is, but it has been wet, because that wave really comes in and says a lot.

Okay, I'm going to just leave that for a minute.

I'll come and put a little more light on there, but I want to go up to our big wave so that we don't lose that feeling.

I think a mop brush will be good on that.

Just gently touching it, and I'm using what I would call a corner of the mop.

It looks like the whole mop's touching, but it's the corner that's really bearing down on it.

So that has power, you feel like it has movement.

If it needs any extra light, I'll come with just a little bit of knifework in there and over in here.

Then those are the two that you really focus on as hitting.

Okay, back to the rock, Raw Sienna and a little white, and I'll use the knife with this too.

Isn't that, as my grandson would say, "sweet?"

I like that-- Raw Sienna and white.

This is the one-- oops, I'm going to put it on the other side of the knife because I want it to come right out to that point and be able to see where I'm placing this.

There happens to be-- this is still Raw Sienna and white-- just as I look at the original, just a little light on there.

I guess that's to show that as it comes down and lightens that, that it's hitting that on the way by.

I'll take a little, my Viridian Green and white, maybe just a little more white and I want, at the bottom here, as these splash up, more white.

So what this is doing, it shows foam kind of in the shadow, but it still has a highlight on it of sorts.

We'll come down close to these rocks and I'll go strongly against that one See, it has a strategic position.

The light's coming by on one side and it's lighter there too.

A little bit of Yellow Och-- Raw Sienna!

Raw Sienna and white.

And we'll put just a little kind of a path, a trail there.

We're ready to come ashore.

We've done "Salty" stage 3, and I hope it's been meaningful and helpful to you because I've sure enjoyed doing it.

We'll see you next time.

I need to look at you and say, thank you for swimming with Buck!

and it's Raw Sienna that we use.

See you next time, bye-bye, thanks for watching.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...