If you want to be able to paint in 3 easy steps let the first 2 take you to a caring teacher or across the room to turn on PBS!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ I think you'll be very interested in this series of 3 weeks.

We're doing a beautiful seascape.

I want to show you the finished product, "Sea Power."

Isn't that great?

It's soft, it's mysterious.

And it's nice when you can have both power and softness at the same time.

You have color, but you have quality of color; it's not garish.

When I look at a painting, I separate myself from it.

I don't know whose painting that is when I look at a painting, just what how do I feel about it, and it could be mine.

And I could just as tough on it or I can be complimentary the way I appear to be right now.

I'll take this down, because we're going to do stage one today, acrylics, and you can see the line drawing on a primed canvas.

Naphthol red and white.

Then Ultramarine Blue as the outline where I'm going to fill in the various subject.

Here on the left is the completed acrylic painting.

It's got power, it's got richness, and then that's what we want, we want that good foundation.

So we'll start, and we'll go right up to the sky.

Let's take some Burnt Umber and we'll take some Naphthol Red.

It looks like we have about equal parts of those and I'll add white into this and then we'll add just a little bit of Raw Sienna too, but first you have equal red and the umber.

Then let's see what the Raw Sienna does.

It's not much of a change, but it does change it just a little bit.

I'll hold this up to where we want it to go and that looks pretty good.

You're always aware in acrylics, that the paint is going to dry a little darker than when you put it on.

So I have a flat sable brush.

And we're pushing this on.

You'll notice that in the acrylic stage which this is, that there is a lot of pink that you allow to show through, and that's going to have a nice unity of color throughout.

We'll see how much of that is saved when we go to the oils.

Little bit up there, I think that's pretty close.

that's the only place we have for that.

No, I have it down there at the bottom there already.

Don't I?

I didn't have that too wet.

It just flows quite nicely but it covers it quite well.

So I'll clean the brush.

I love the first time you clean the brush.

It's just like a big Yellowstone explosion of the-- what do you call it-- the geysers?

This is for the highlight sun area and this is Yellow Ochre and white.

I'll start out, oops, I had equal parts, oops, that's too much Yellow Ochre.

The same thing here, let's hold it up; that looks all right.

What have ya-- you're standing there, get off the sidelines.

we'll put a little yellow in there too.

You say well, I can't tell any difference, Buck!

But it sounded good, didn't it?

It sounded good to the yellow as it was sitting on the side of the dance floor.

All right here comes the color, and I'm using the same brush, and as I put this on, I'm going to tap it on like this.

I think we need a little more yellow in that.

It's a little Yellow Ochre and yellow, it's just a little too light.

So I'll come back with that, that's better.

Of course, I have to say that-- you don't wanna feel the teacher doesn't know what he's doing!

This is very nice, it's a good neighborhood, and meets well its neighbor at the fence.

Okay this will go over to the right.

And we're in preparation for having a cloud that will meet up with it eventually.

I taught this painting once and it might even been years ago on the Alexander company when we did a TV show but we did it in magic white.

Here we're doing it step by step with acrylics, then oils and then refinements, so if you've done it before, now you're ready for graduate school.

Let's go ahead with the cloud.

It is helpful when you kind of just come working right down.

So the cloud is Ultramarine Blue and we got some violet-- no let's see.

Ultramarine blue and violet, yes.

You get back over here violet.

So I'll take blue and we'll take some of the violet and that looks like about equal parts, and then we'll put white with it and see what it looks like.

Once you get the white in, and then you can decide, and my decision will be after I hold this up to the canvas.

I better try that again, because I had a little too much white in it.

That looks fine and then right at the bottom, we'll put just a little red into it so it has a little kind of burn.

Let's go ahead, let's take a flat brush this time.

You can find that when you do this, and then I notice this when looking at the demonstration one in acrylics, that I don't necessarily have to come over and touch against the yellow.

See, I can leave that little pink as a buffer between them.

Then when I come to the bottom, as I suggested, let's take some white and a little red.

Oof, you're going to have your neighbor the violet come in.

Yeah, so I'm calling this just violet.

I skipped the red, so it's violet.

Subtle difference, but it is a help.

All right now let's go over to the sky.

We'll add white to this mixture and see if that will work.

This is the dark cloud that we just put on, now we're adding more white to it.

It looks like I might want to have just a little more blue in it, Ultramarine Blue.

Again, it's just so easy just to look at that and come up here.

Touch darker.

Being close is all you really need at this point, but with the model right there it's sure easy enough to go with it.

This is taking a fan brush and I'll come over in here and I notice as I do this it's kind of what you call a little bit blotchy, because there are some openings that will be over in there.

And on this side, just a little bit of the sky above there.

What do we do next, you ask?

If I take what we just mixed up, this is the blue and white and a little bit of the violet, I want to add some Raw Sienna in this just for some of the foam color.

It's slightly grays it and I'm looking up in here.

Did I go to fast?

That's because I wasn't sure it looked just right.

Still the fan brush, and what I'm doing this time in painting the ocean is, we're saving a spot where the highlight goes.

Often I'll put this over the whole wave shape and then put the highlight on top of it, but I'm choosing to let them each have their own individual space.

There gets to be a certain time when you need a bedroom for each one.

Right in there and a little bit down in here.

There's a small wave here-- where are you?

Okay that's the end of that.

Did I have a line there?

Yeah, that's the end of that.

Then you have a dark under then this will be the other wave.

Good!

Nice to have a model in front of you.

Little bit eventually down there.

I think that will work.

I do like the aspect of having a little paper towel that you can just kind of blend a little bit, just wipe if it's a little chunky or anything.

I'll even go up to the sky slightly.

The highlight that's put on in the sun area, I don't have any desire to put a paper towel on that, but I will take a knife, just a slight flattening of the texture.

Before I put a highlight on there, I think I'll go ahead and put some more foam on, I mean wave, water wave.

So this is going to take Ultramarine Blue, and we'll use some Raw Sienna with it.

Let's see if we can give you a formula.

That looks like about equal parts, we'll see if that's what we want.

The blue is quite powerful, isn't it?

It's almost like having 2 sumo wrestlers coming and you think who's gonna win?

Boy, that blue did all right!

Okay let's take this brush, the sable brush, we'll wet it, clean it a little bit, and this is particularly for under the wave, where we have a lot of dark.

We'll come up here, but we'll save the spot that we're going to put on the eye of the wave which will be right in here.

However, it is sometimes helpful if you just soften the edges so they're not real sharp.

Then when I put the light in there, it will blend.

We have another wave, a small wave here, so we'll push this dark water under there, a little more water in the water.

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

I love the response of the viewers, and I'll tell you, I enjoy just as much hearing from somebody who says I don't paint but I love your shows!

I love your enthusiasm and your positive thinking and that's all brought about by more than me.

I mean, this whole crew that I work with, my director, these people here-- they're positive!

How can you be anything else?

So I congratulate them.

Now let's see, on the water down below, let's put just a little more yellow in, and I'm looking at down in the right corner.

Let's see what that will do.

I'll hold this up, but I think it will work fine.

It's close enough.

Isn't that a nice deep green?

Let's see now, this comes over near the rock there, you're the--are you the height?

Let me measure that.

You're there.

Oh you do come up there.

So you come up there, come up here like this, come across at the bottom of those rocks.

And there's some just a little bit lower on the right side over here.

I'll save, I need to see that line because there's a little blue on it.

And a little bit in here.

Okay, now where else?

Oh there's a little bit over in here.

Let's just put a little more yellow in it.

Yes, just a little more yellow, and that's to the left of this rock.

Then as we go to the right, it appears to be more the Raw Sienna-ish.

I'll put a little green with that too.

A little green and the Raw Sienna and white.

This will go in here... and likewise it will go in there.

Now this is what I'm talking about when you put this on, and the acrylic dries rather quickly, and I'm referring to what's already there.

So when I put this on, I'm kind of wiping the brush.

Just work on the side like this.

Now, notice the rotation of the brush you're just pushing this out just a little further, and it's a light touch, because you want to treat the brush with care.

Let's take some of that same lighter green that we had down here, but if I add a little more water to it, you watch the value difference as we go out here.

It might have a little more yellow in it, but anyway I want it to be, sort of the same family but just thinned out a little bit.

Now, this is more it, but I'll take and very quickly spread it around and then take even a paper towel.

How about a clean paper towel?

Well, you can do that.

Okay, now down below, what do we need to do?

We need to put in some foam and this is going to be just like we used up in the sky.

And down in this area.

Near the rocks.

It's so pleasing to be able to have more than one show, oh, gee, to try and do this in one show.

Wouldn't that be an agonizing hurry up?

You'd would feel it, and I certainly would.

Okay, blue next to the rock.

It's a little foam at the bottom of that wave.

Do we need this anywhere else?

Just a little bit that's going to be going up into the rocks.

There's some down here that's right above the rock.

It goes on this line.

I love the movement of this.

This power coming in here and it's kind of offset by the amount of rocks on the left side.

See how they balance each other?

Okay let's see what we want here-- yellow and white.

Now we have the chance to put on a lot of highlight.

And this will go on the foam, on the big wave and it will go on the foreground, the path.

So I'm taking some of that sun color and just mixing it with white.

I want to hold this up and just see how I'm doing.

That's just maybe a little too much yellow so I'll put just a little more white with it.

I've cleaned the fan brush.

The thing I like about the fan brush is, you can use it several different ways.

You could use it just to pad on the foam, this is what I'll do first.

I wet it, but it's not real runny.

I just wet it to clean it.

As you place this on, it almost feels like you're touching the actual foam.

What you want to do on the top edge is make sure you have a little feeling of little scallops, they arch up.

This gives a real feeling of the water just tumbling into the-- towards the shore.

Now initially I'm just placing it.

You don't do a lot to it in the Acrylics stage, but I will bring it down just a little bit.

You can see on the model that it's not real sharp.

So I've wiped the brush and just pulling it down slightly like that.

And you're aware that before we finish we'll have some-- and when I say in the final time, not in the acrylics stage, we'll have some of the splashing up so you achieve the real softness of foam.

Now, you could take, with the acrylics stage, you could do the acrylics stage 2 times and refine it, then put a final oil on.

We're going to do the oil in two stages and it will dry in-between.

That's the only criteria that I need for using it.

Let's put just a little bit of this on the lower waves.

There's one in here.

There's one over in here.

And this one, of course, gets on the top edge.

Please note that whatever the size of the wave, they're all handled the same, which means you save this gray a little bit.

We soften into it but you don't lose it because you want the feeling of form.

I like to call it a 3, we put on a one, and we set it out so you have a one you have a 2 and you have a 3 regardless of the size of the wave.

And that's such a helpful form.

You establish where your light's coming from and then you know where to put the number one.

Now here's the other thing with this is, I'm taking the fan brush and I'm going to kind of sweep, sweep along here.

This is such a good feeling.

Just gives you all that you need and a big chunk down here.

We'll put a little more of this on.

I don't blend this much, just slightly into that.

You'll see it blend a lot when we come to the-- taking a finger and putting just a little more water in there-- when we come to the oil painting stage, then you'll see a lot of this swish in.

So what I want to do next is quickly do some rocks.

And the way I'm going to do this, I'll have a dark color, which is umber, and I'm putting this on just a little water.

Then when we put on the highlights on the rocks, they'll be put on with umber as well but it will be a little white in it.

This is such an important one.

Now, he should have just a little light above him too, because he's right in the path of the sun, which gives a good-- that counterbalance as we spoke of.

So what I'm going to do on these lower rocks is-- let me just go ahead and do these on this side because they will be done the same way, they will have the little outlines and that because I want you to see putting the highlights on them.

This is, we can use white.

I didn't want to waste that yellow and white, so this is the highlights on the rocks.

And nothing special-- you don't have to have any one direction or anything, you just put that on, you bump a little bit into the dark on purpose so it has just a little sort of a blend as you're doing that too.

Oh, I'm so thankful you're going to come back next week!

Are you not?

[chuckles] What you could do is-- just let me just put some umber on this one.

You could take the fan, excuse me, you're not a fan brush.

You are the palette knife.

You could take that and as you're doing these, as you're filling these on... See you're doing the same thing, but you get just a little character in there, and I kind of like sometimes where you have the broken little color.

I like also taking sometimes the dark in here.

See, I'll put that dark right back there, just a little sharper, a little stronger right like that.

Oh, and a little rock down there.

These rocks would all be just a little more finished.

I'm not doing that because it's just repetitious, and I think what I've shown you will be sufficient for you to go ahead and do yours.

So we'll look forward to seeing you next time.

I'm putting just a little extra dark on, just before the accent against that foam down there.

Thank you for watching.

You come back next time, and you come back the time after because we're going to show you "Sea Power!"

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