You can never paint the same sunset twice unless you've painted it once.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ We're sure gonna have fun today, because we're gonna step out and do something a little different.

Let me show you where we are now.

Previously on 24-- see, we have 24 minutes so I can use that, right?

Take a look--the completed acrylic stage of "Sunset Power."

Then you have the completed painting which has acrylic underneath, and then you have the oils on top.

So, we're going to go from the acrylic stage to the completed oil stage today.

And we're going to do it just a little differently.

And I'll show you in just a minute.

We'll take some walnut oil with a large brush.

And this will go over the whole thing-- do you see the richness that makes when it just goes over the acrylics?

It just brightens it all up.

As in the past, we put on enough to make it possible to push it around and you have an even, thin coverage.

It's so important that you don't have too much, because you want to be able to control your paint so it doesn't start running on you.

Alright, now here's where it comes a little bit different.

And it's so exciting to do this.

We've done the Saturday night bath before.

We'll do it again on the lower half of the canvas.

This is Azo Green, A-Z-O, Azo Green.

It's a very thin color.

I'm coming up to the palette.

When I put this on, instantly it's too green.

But I'll just put it on and then kind of wipe it off.

So it'll give me a glaze effect.

When did I decide to do this?

Three minutes ago!

Are you glad you did?

Yes, because, with the oil on I could wipe right back to where it was if I wanted to.

But this will give me something to work into that gives a very unifying look with a little bit of that color throughout.

Also when you put on paint on top of it, you can blend in just a little bit with that.

Okay, now what's different about the top?

We're gonna give it what I call a mud pack.

You know how beautiful women they'll put a little mud pack on and take it off and they're complexion is so great-- anyway, that's what we're doing.

This is Quinacridone Violet and Paynes Gray, and a little white.

What this will do, it'll give a kind of softness up there that again we can work into.

And I let go right over the previous gray.

Very similar to what we did with the Azo Green is, after we place it on we'll do some wiping to smooth it out.

I'll go right into the cliff, right into the cliff.

Okay, now I'll come with the paper towel, and we'll wipe just kinda gently.

Some places over here just a little firmer in the wiping.

A little firmer over there.

But you have the same opportunity to work into something that's wet.

And that, see, that just softens everything a little bit.

You can already see the difference between the top sky, which is more soft, and this which is still a little sharp.

Okay, now I want to read a quote to you, "I never trust a cook who doesn't sample food."

So you can say you never trust an artist who doesn't mix some of his own paints.

So today, pretty much what we're gonna do is mix them in front of you.

So let's take, this is Cadmium Red Light.

I'll mix a little white and a little yellow ochre into it.

I'm evaluating this and I see I want just a little more red.

And I'll hold this up to the original over here.

That just needs to have a little bit of rose with it too.

Boy, I hope this cook comes out alright.

Perfect!

I would say that even if it wasn't because I was getting a little embarrassed.

Okay, here comes the Yellow Ochre and whatever else I said.

The red light and the rose.

Pushing this in the area we had for the sun and as it spreads around, recall what I've done.

I have that mud pack color on the canvas.

So this softens into it.

I'll take some of this same color which I just have wiped off the brush a little bit and come up slightly there.

Just like that.

I put a little bit down here.

Then we'll go down, no lower, no lower.

I do want to come back slightly with some of that mud pack color and I want to go down in this area.

See, it'll make it just a little lighter than it was there.

And this gives a nice feeling, both there and here of-- it lets the rocks stand away from it.

The thing I like about doing these shows is I'm out there taking risk not at your advantage-- with you, we learn together.

That's why it's so exciting to do these.

It is not boring, I guarantee you when you keep learning.

Soften that up and then I'll take some of that same color.

This is the mud pack color, and we're going to go up to the edge of the clouds.

See how it's just a little bit lighter.

Dip some of the same stuff.

"Same stuff."

Boy, that's a high-class name!

I'm sure the guy who sells the paint says, don't call it "stuff!"

We'll out some down inside slightly.

And then we'll come over against the distant cliff as we did down in the front of it and it allows the cliff to stand away a little bit more, a little more clarity.

Okay, I'll take the mop brush and just brush that softly.

It's so exciting, I'd love to put that sun in right now.

But we'll just wait.

We just kinda build.

You have to stay around and watch that.

Let's go to the cliff, and I'll change my brush to the flat sable.

And I'm coming with the same mud pack color because it has warmth, and at the same time it's just a little cooler than what's there.

If you see as you put that on you have the whole neighborhood that was there before.

You can feel evidence of it.

What did I just say?

What did I mean?

You can still see the other colors.

That's what I was trying to say.

Alright, we'll go just a little bit higher on that cliff and I'm going to select a little bit of Cobalt Blue and white.

So as we go higher, this should be just-- yes, just a little lighter than what's there.

So this'd be the light and what's there where you don't put it, you have some shadows.

You can see form on it, just a little bit out there.

Again, we'll take and blend.

Mop brush, you're in business today!

I think that will work alright.

Okay, now I want to come over to the rocks, the cliff on the right side.

We put that mud pack on it, so--I'm gonna take Burnt Umber.

And this is the Paynes Gray.

Let's put a little rose with that too so it's not quite so coal black.

That's a nice addition.

So I'll put this though.

Ooo, is that pretty!

You really feel like it responds to what's up in the sky.

Over on the far right I want just a little bit more of the Paynes Gray in it so it isn't quite as ruby over there as it was.

Take the brush-- I wiped a little bit so I have very little paint on it and kinda working with what's there.

Okay, that should be enough of that.

I'll take the mop brush.

Seems like you should have a little rhythm, ♪ mop-mop, bebop!

♪ I remember teaching once at a place and as I'd go around I'd kinda hum, ♪ Da da dee.

♪ This one lady said, "You know when I was growing up, I wished I could sing."

Now, I wish you could!

So she got a lot of help.

Okay, here's taking the same mud color and-- let's see, I'm going back to the palette.

Mud color and some of the reddish color we put up in the sky.

Yeah, this is better.

The one would have been too gray and the other would have been too warm.

So we're just making character there, too.

And you'll find on this, when I mop it, when I blend it, then it really settles in and looks fine.

Right now, it's a little bit stark.

And you find that each new thing you do is almost a caricature because you haven't been looking at-- see this, that's fine because you've been looking at that.

But now you need some excitement and we almost overdue but the blending will help it.

I'm aware that the sun will be added and that will give us a real impact up there so you're not going to compete with the sun area.

Let's do a little bit-- well, as we come down, remember what I said last week.

We'll do the foam first, because if we have wet rocks, you might make the foam dirty.

So we'll do the foam fist and then work the rocks into it.

So when we come down for this, what should we mix?

Let's, cobalt blue--that's a rhetorical question.

You don't have to answer it, I need to know.

Cobalt blue, Viridian Green are equal parts.

I'm putting it into white, and let's see, I think we'll add just a little Paynes Gray.

I wonder what that looks like.

It may not be dark enough.

Oh, it looks good there.

Yeah, I think it'll be alright-- surprising!

Having a darker palette as I do instead of white, it makes it a little easier to get the true relationship of colors before you come to the canvas.

Because otherwise, if this were against white it would look very dark.

But here, it's just right.

Alright, this time, meaning the oil stage compared to the acrylic stage, I do want to blend up a little bit.

So I'll take just the corner of the fan brush and splash up slightly so you have the very misty foam.

This certainly doesn't hurt.

After you do that just come with a mop brush, just blend it in.

It's a very light touch; it melts.

Okay, I'll come over to the right-- let's see, your other right, over here to the left.

And I'm putting this at the bottom of it.

So the reason down there, see, I can soften this a little bit and then your edge is softer.

My feeling right now is not to put it over the whole previous wave because a lot of that color with the Azo Green glaze over it, the Saturday night bath, it's closer to what I want, it's softened the gray color quite a bit.

Ooo, see, I'm just pushing across that.

When you push across these, you're going maybe a little further than the foam patterns were.

So you have a little over the edges, makes the foam patterns a little more genteel, a little more filmy as they are lying on the surface of the water.

Let's come down here.

Now when I come down here, I come below that yellow and white.

Why?

Because I want to have a little feeling of thickness to that foam that's coming in on the water, on towards the shore.

The nice thing here, of course, you could always take a paper towel and just push in around slightly.

When you do it-- see, when I go across?

I can still see those openings.

If I need to see them more then I can wipe back to where they were.

But some of it you want where you don't have it as definite, the openings.

Okay, now on the eye area.

I'll wipe a little bit so I'm working more on a dry surface.

And I'll come with-- what do I want to come with?

Yellow Ochre and white.

This is Yellow Ochre and white.

I'll jump across and pick up just a little green over... Viridian Green.

That should work.

It did!

Now you're working into an area that's dry.

You have a little Azo Green down below, so it'll soften just gently into that.

The brush my mommy gave me.

Mommy and daddy!

Ooo, that's beautiful.

Okay, highlights on the wave.

Yellow Ochre and white, I'll pick up some Yellow Ochre, come over and I'm just going to brush-mix it; lot of white.

Go back, pick up just a touch more Yellow Ochre.

And that should work.

When I do this-- I'm gonna to change my mind.

I'm not changing my mind, totally.

I'm gonna pick just a little.. no, let's use this, then we'll later add a little orange and white.

Okay, so here, when I place this on, this going be put on and kinda overblended, overdue.

There was one artist.

I helped him paint a seascape in a workshop.

I'd come by and he kind of made a mess of it, and I corrected, I said, "Okay, leave it alone."

Come back, he had worked on it again.

I said, "Okay, now leave it alone."

Came back the next time and he messed it up and I did it, and by doing it three times, it was so soft and nice.

I said, "Can I use your name and go across the country and tell people that technique?"

and he said, "Sure."

So it's known as the "Virgil method."

Ah, Virgil was such a neat guy.

Ooo, isn't this pretty?

See, it sets control because I don't have a lot of wet paint to work in there, just that slight little feeling of Azo Green.

I'm going to make sure that I'm high enough there, so I'm above the horizon.

Okay, I'll come down to the next area.

The next area's right in here.

And come over in here and here.

Kind of rushing fast, but they're all similar, they're all the same.

You put a little highlight on, you blend it down into what's there.

Let's take the mop brush... and splash around a little bit, come down through there.

This one, the light came down a little too far.

I want to save some of that blue so we can still see where the form is.

Need to have a little bit down here.

And a little bit down on the edge of that.

Okay, now let me do a couple of things.

Which would be, let's go back to the sky.

I'll take orange and mixing into the Yellow Ochre and white.

Come up, and I have the knife-- did you see that?

There's putting on the knife, bringing it up and turning it around and splashing it on, tapping it on.

You're a little stronger with it, where it meets the edge of the cloud.

So down below, you're tapping around just a little bit more than right up at the top edge.

And again, you have something nice to blend into.

I'll come with just a little bit more of that.

Just a touch lighter, a little more white right in there.

And you can practically leave that.

Let's come down, when I say "horizon" it's straight down.

This is still the orange and Yellow Ochre and white.

We'll come right down here.

We want to make sure we're traveling in a straight line.

from the sun down.

So having that in mind means you come down, down, down, down, down.

And this would be just a little strong light there, too.

Now I'll take some of that Yellow Ochre and white-- boy, you are strong-- Yellow ochre and white.

Where's the Yellow Ochre?

It's over here.

Let's take some Yellow Ochre and white.

And we'll make just a couple lights in the path of the sun that are not with the orange.

So, I'm coming down right in--here's one.

And here's one.

And there.

Now, I want to do just a little bit on a rock.

Let's take umber and this is, oh, this is what we had before.

This is the rose and the Paynes Gray.

So this doesn't change much from what's there.

It may warm it a little bit.

You do glaze a little bit into the lights that we had on the rocks before.

So it softens them down just a little bit.

And let's put just a slight bit of foam coming off the rocks.

This is the edge of the fan brush.

Put it on, and just pull it down.

Let it soften back slightly.

Gee, I love that.

So over on this side a little bit of also, the foam coming down off the rocks.

Just light or two.

This is--what are you?

You are the color we put up in the sky.

We'll have just a sparkle of this touching there.

That just peaks around, doesn't it?

And a little bit on this edge.

Okay, we'll set that down and we'll take our small brush and we're gonna go up and put just a little bit of a feeling of a birdie in.

[sighs] Okay, I'm taking, I have the Paynes Gray and a little rose and white.

So I'm placing this on-- there's a little dark for that wing.

A little bit of the body, and then a tip of this wing.

So that's with the darks.

You can see that.

Alright, now we'll take the lights.

This is Yellow Ochre and white-- let's do this.

Let's use some of this blue and white and Yellow Ochre.

So it just gives us a chance to maybe go a little lighter.

So now I'm coming on the edge of the wing.

You put a little bit where the edge is, just like that.

And then a little bit up on this wing.

Oops, and I need to wipe just a little bit there.

I'm going to soften this slightly by scratching so the head and the body kinda blend together, the head's a little smaller.

Now, to make that just a little better we'll come with white and yellow-- this is without the blue, so we can have an accent.

Right there.

Can you see that?

And right there.

Isn't it wonderful, the hi-definition?

So that gives us our birdie.

What?

Where'd you come from?

It looks like a flock of birds so I'll take a little color, this mud pack color and just soften that.

That, that's it!

You come on home!

We're waiting for you.

We still have a little extra time.

So let's take some of this rose and the mud pack color and we'll come up and watch what this does.

Right across here, we have a little bit of an accent on the wave that will be very nice.

It kind of separates it from the lower water.

And we'll do that just a little bit on this peak.

Now, you already have that peak, but just a little bit of the reddish color in it because it is in the path of the sun and you really want that to work well.

I'll take just a little bit of the gray to cut into that slightly.

We have one little highlight to put over on a secondary wave.

We got the big wave, we got the next wave then we have just a little bit in there.

Ooo, that, very pretty!

Very, very nice.

I like having them look alike and yet you want something that's from the heart.

From the heart means you might be making little variations.

This has just a little red on the brush.

You see the dark right behind here?

See, if I just soften that a little bit then your accent isn't so much right there anymore.

It kind of comes over and you see the foam hit the rock.

So, this has been great!

I just really appreciate having the opportunity to show you how to paint the golden sunset.

You paint one too.

I want to see what it looks like.

We'll see yours, and we'll see you later.

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