I must go down to the sea again, to the Cobalt Blue sky, to the Viridian Green water-- sounds like a palette!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ I must go down to the oil again.

So with a tall brush and guidance from my director, I'm going to put this on the whole canvas.

You'll notice we're doing stage two, this acrylic stage has been completed.

We're now ready to do the oil paints Of course, you see the beautiful original next to it.

Back to the oil, and we'll put this over the whole thing.

It's such a nice way to add colors with using them almost dry because of the oil on it.

Wipe for smoothness and for checking the quantity.

Okay, now I'm ready to put on some color in the sky, and it's almost like a little scumble because it's got white in it instead of a glaze that we can work into.

We'll see what's under there quite well, but I have a nice one-inch brush scrubbing a little bit.

This is, you are Cobalt Blue and white.

(soft scraping) Again more so now, we'll let it hit the cliff just a little bit.

As we come over this way, I'll put some on.

I'm going to be wiping a little bit with this, so don't be too concerned that it looks too blue right now, and I'll even come across there just a little bit.

(soft scraping) Okay now on the wiping, I'll gently wipe, so you get the play of what's already on the canvas and to reveal the clouds and that just a little bit more.

I'll wipe just a little harder there, because we'll want to put some orangy red colors in there while it's still wet.

So there, you could pick up, and you could find maybe just a little-- I left a fingerprint.

So you can find just a small little veil on it.

Okay I'm going to take, this is purple, Dioxazine Purple, and I'll touch up with the blue just to make a little darker on the sides.

I'm not changing my mind, but I'm coming back to the palette a little bit of oil with this, a little Paynes Gray, a little blue and white.

So let's see what this does-- yeah, it's exactly the same!

It was worth it; we had to use a couple minutes there.

Okay let's come up with this, and I'll blend this so it doesn't have really any character in itself, you just know your interest is going to be more in the middle because of it.

Not as much on this side, just kind of the corner.

Although I don't think I even see that it in the original, but we see it up here, and this can work in and be where I use a little quantity-- becomes a cloud.

You're becoming!

And down here.

Now after we've done that, let's take the bunny brush which we had put in with a little oil, so I'll wipe to make sure it's dry and then just brush back and forth.

And I certainly don't mind it touching the ocean, the edge of the ocean, because that will make it when we put the edge of the ocean in, it will have something to blend into that will make it softer.

I'm leaving fingerprints all over the place!

Are you okay over here?

I think so.

Let's stay in the middle of the canvas, in other words in the sky and we'll mix up a color.

You will be--we'll start out with Yellow Ochre and white and then we'll sort of add into it a little bit of orange.

Isn't it fun to mix right in front of you?

And a little bit of Naphthol Red.

And I'll hold this over to the original, and I think I like it, and that's what counts.

Here's another one-inch brush, clean one!

I'll push this in right there, we'll push up.

You see I don't have much paint.

I want more of a glow rather than character from it... (soft scraping) but I can still see through it.

See, I can see the little lights there.

So let's take some of the Quinacridone Rose and I'll mix it over on the side of this color so the rose comes out just a little bit tinted.

Oh, you know what I need in there too?

I need just a touch of purple.

Oh gosh you guys, you get along so well together.

That's what's neat when you do this, you find colors that are compatible.

If you're not, you're going to be there anyway!

Go to your room!

Sounds like I'm back on the farm.

I had a great father.

He wanted things done right, but what an inspiration he was.

Always wanted things done right.

Stand up straight, look 'em in the eye, shake their hand like you mean it-- wonderful things that now mean so much in being out with society.

Okay, let's take and blend that, and always with the effect of wet paint being blended into, it makes it so easy to blend.

This might be kind of like if the daddy's a little better than, I mean, if the son's a little better than the daddy, that's fine.

So if you look better than this guy, best of luck to you.

I think I'll do now, I'll clean the brush, the fan brush, and clean it just a little bit more.

I want to come more with this Cobalt Blue and White and you can see what happens with what I'm going to do now.

It's going to erase just a little bit of the cloud there, so I come against it, not quite dark enough, I ran fast, there we go.

Now see, I can kind of push in and form up the cloud with the background color, and I often will do clouds that way-- oversize them and then erase just a little bit to get the little tails on them and so on.

I don't think you even have red over there, so we'll cut into you a little bit.

Just a little bit there.

They even blend in slightly where the orange ends.

Okay, so what do we say now.

Are you all right?

Just touch a little bit.

Those are very fleecy small clouds up there.

Let's wait as far as putting on the strongest light on the sun.

It's kind of like dessert.

You build up to that and say well, get some more meat and potatoes then you can have the peanut butter.

Or ice cream if you're not a peanut butter aholic.

Okay, I'm going to come to the cliffs.

And what kind of blue do I have?

This is Anthraquinone Blue Boy, that almost sounds like a medicine, doesn't it?

Let's see if this will work.

Hey, you gotta come up darker than that.

Come up a little more pure.

Oh, there it goes.

Because you're blending in to the wet sky color that came down into there therefore it made it necessary to check my value as we blend into it.

Wipe the brush a little bit and use just a little bit there, so it isn't quite so much.

You know what's neat about painting right before lunch?

Oh!

Because your mind's on this and then who're you having lunch with?

Oh, it's neat.

Oh, don't these look good?

And down below, just a little bit of the blue, so it pokes against the sky and pushes the sky back slightly.

Okay we'll stay on the cliffs just for a moment, because we do have some of this red color.

I cleaned the brush, and I'm coming to the reddish orangy color.

I love that.

And then we'll put some in here.

Not much just a little bit on the edge.

Oh!

That makes it-- you know where they're being lit from-- up there!

A little bit along here.

Better put a little extra up there.

I ran down, picked up a little bit more.

Okay now let's see if we need to do any blending on that.

You're pretty strong, but I like you.

You're good, just blend it a little bit.

Then on this one, both of those two, I want to have just a little more red.

Let's take, this is Naphthol Red And watch when I put that red on there, See, it just kind of-- you know that this is warming it.

This besides that has just a little bit a lighter color.

This is an orangish white, just a little like that.

Okay, let's call that enough.

We may have blend a little bit more later on that.

Let's come down and we'll put some-- color the water in.

We have it quite dark there, which is nice.

This is Viridian Green, and more Viridian Green.

Let's try just a little bit of the Anthraquinone Blue so it looks like it's about 3 Viridian Green and one of the blue.

I'm cleaning the fan brush, dip in, and I kind of clean it in the towel a little bit so I don't dirty my cleaning oil as much.

So this is the green and the blue.

When I put this on, I will just spot it and then kind of blend it out a little bit because it's pretty dark.

A little bit along that edge.

Okay now I feel a need to come down to the palette, pick up a little Viridian Green, again clean the brush and let's see, just a touch of white.

Yes.

So we get-- look at that-- kind of an emerald-looking green.

A little bit up there, blend this down.

Blend it over in here, not much, and same way here a little bit, but not much, because the water color that was there-- pretty close to what we wanted.

Okay, now we'll do just a little bit of foam patterns, I don't want to have too much.

We have them quite established from before.

This is Turquoise Blue and white.

Now, here I will use some oil, the walnut oil.

And you notice this one, it's such a help in the composition.

See, you have the light coming down here, the waves coming in there, the big splash, then this by lightening this, and you can see on the original, that you kind of move the person back into the picture, so that's a good one to emphasize.

All these will have a slight bunny blend afterwards.

Let's go a little bit different color on the next foam patterns.

I want to have a little Quinacridone Rose and white with the blue, with the Cobalt Blue.

As they go up into the waves, what happens?

Well, they're being shaded.

So these are, the daylight's hitting them, but if they go higher because the wave's turning, then there would be less light up above, So that's a thing we must remember.

Continue across with these, just a little bit, the previous ones are a help.

Go right on top of those.

If some of them still show, that's fine, it gives that second value as well.

A little bit out back.

This is the outback!

Great place to serve; a great place to eat.

Oh, there you go.

And what about in here?

Yes, in there too.

And the other thing that I'm doing here is, I put these in, I'm going higher not with the foam pattern, but just with a value because that wave was a little dark for being in the path of the sun.

Okay, I still haven't blended.

Now what I want to do is to come down, clean the fan brush, and we'll pick up some foam color.

What color should we have?

Lets take let's take that Anthraquinone Blue.

I believe I have just a little touch of Yellow Ochre on it.

Oh gee.

Yeah, that'll work.

See, you're cutting a little bit into the previous highlight from the acrylics on the wave.

And then we'll add a sparing amount over there.

Now let's go a little more Quinacridone-- you're not Quinacridone-- Anthraquinone Blue.

We'll put, this is a little darker, so you get some of that mist going up so it isn't quite competing with what's down here.

Let's put some of this on your other waves.

We'll have a little splash on that.

Oops, you need to be a little darker too with the blue.

These shows are so fun to do.

It's so neat to get the reaction of you viewers, both in person when I teach workshops or when somebody will write or when someone will call.

I can be reached.

I want to know how you do with it, or maybe you have an idea of your own that will make it better.

I did a painting once on the show it showed a pinto up on the ridge with a mesa behind and somebody did it and they put it down near a stream.

It was beautiful!

So it was fun to learn from the learner.

If you really want to learn-- teach.

Okay, blending time.

I've already blended the sky quite a bit, so now I'll come down into the water and blend that.

Ooh, you're a little strong, so I'll put some of the water color into it.

Just very gently.

The longer you let these, well, the patterns of foam or whatever area you're working on, clouds or so on, but the longer they sit unblended, then the more control you have when you do the blending.

We don't have a timed gap at all, so we really need to blend very quickly.

Okay, let's make sure we're happy with what we have.

I need to have just a little dark there and it would be kind of in the Quinacridone Rose family, maybe just a little white there.

So you see the result of the sun hitting into the water and warming it.

Okay, we'll blend... where else?

I think just gently across the foam; gently across the foam.

Okay let's go with the highlights.

We'll put highlights in the sky, we'll put highlights in the foam.

Then we'll probably have to put a little bit in the water, and then we'll do a little work on the rocks.

We're really moving a long at a nice pace.

This is white and Cad Yellow, just Cad Yellow.

I was going to say Cad Yellow Medium or Cad Yellow Light.

It's just called Cad Yellow.

That's not enough white in it.

I'll put this over on the edge.

So your whole family came along, and like Samuel did, I choose you David.

Okay let's come up here.

Taking some more still with the knife... straight down, and let's go with this, jumping past the wave, down into the water... a little bit there, and what was kind of a nice addition if you take, for instance in here, you put just a little bit on a couple of the foam patterns going up that wave, so that's the sparkle of the water going up.

A little bit there too, see, that light along that ridge makes it a real nice front wave.

Okay on the sun area, take a little bit off and then we'll sort of tap it around.

And on the wave itself a little more white.

Did you come clean?

Yes.

Okay, we'll take just a little bit of this and put in the very strong directional lights.

A little bit up there, a little bit down here, and there and there and a little bit over there.

In a minute, we'll blend those with the bunny brush, but first of all, let's put a little red on the rocks, so likewise, you have them showing the affects of the sun.

Wipe the brush, just blend, just a teeny little bit.

This one is sort of shadowed, shaded, and then the light just peeks through and hits that side, hits there a little bit.

What is also quite helpful, if you have just a little blue and we just show it coming off the rocks just a little bit.

Let's put a little highlight on the rocks with a knife, the little orange and white-- are you light enough?

Yes.

Then just low there.

We might take purple, I don't know if it's necessary, but we'll take it.

Purple and see if-- just outline that, maybe make just a little more character on it.

I love doing the paintings for you, and I love doing seascapes.

Okay, let's make sure we have a little bit more of a blend.

I'm taking the bunny brush, putting it in the oil, wiping it, and I want it to be very dry.

So I'll start just by going across the sun a little bit more.

Come down to the next level, the horizon, and you realize this is done quickly.

You do it more carefully.

That's a beautiful painting, this one has the potential to be beautiful but it needs the good, careful work, which is more than just a half hour.

Okay now down on here, just blend a little bit, the corner of the brush, pulling it down slightly so it looks like foam.

Blend this one a little bit, blend this, blend this.

When I look at these shows to make sure we've got the right color formulas and so on, sometimes I'll think, oh put another light in there, put another light Buck!

Oh you missed it!

But we won't miss it this time.

Here's yellow and white, just a little stronger in the eye area.

(soft scraping) Well, it's been fast, it's been fun.

And it's always exciting, always exciting.

Never sure what will come up.

Just it's--oh, just at the right time those things are done.

I have a little teeny knife, you made the trip.

You need to make sure you're doing something.

Okay, we'll see you next time.

We'll go down to the sea again together.

Thank you for watching sunset-- "Siren's Cove."

I almost said sunset sea.

See you next time.

Bye-bye.

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