While we can't read their minds, we can anticipate their saying let's do it!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Are you ready for some action?

I am.

I want to point out the original, the final product.

And you see that big wave, you see those anticipatory swimmers, and their surfboards are just a little off camera.

Now, what I want to do, and first I'll show you what I did last week.

This is all done, and it's all dry.

I want to try something that maybe I didn't do there.

I want to put a little Saturday night bath on the foam, on the sky, and on the water.

And we're going to work in the sky and the water, some on the rock, some on the sand.

So the fellows will kind of be just anticipatorily sitting there, and we'll get them next week.

That way we can really dignify each area we're working on.

So I'm digging into the Walnut Oil with my big, sweeping bunny brush.

Now that's going to run a little bit, but we'll just soften it down this way.

All the wetness will help us when we put on the Saturday night bath, which here it comes.

This is Alizarin Crimson, and when I put this on, you're going to say oh, that's too much!

Absolutely.

But then we'll wipe it What does this do?

If I get a little bit on the guys, that's fine.

This makes it so I have something to blend into, and it'll give it just such a nice rich color.

Boy, that's kind of strange.

Okay, let's push this around, and in pushing it around, notice the little evidence you see of it.

Wipe hard, Buck!

Take that almighty arm.

You can say I like it better the way it was.

Wait!

Wait and see, wait and see!

And wipe here, I don't worry whether I hit the fellows or not at this point.

Okay, now let's go into the sky, and I'm taking a fan brush.

I'm going to go back with some of the same color we used before.

This is the Blue and White with Van Dyke Brown.

Don't you have a little Alizarin in you?

Maybe.

And I'm going to add just a little more Blue to it.

Yes, I like that better.

It doesn't take much paint-- you're blending into the wet that is there from the Alizarin Crimson.

Go up in the corner.

And then we'll come over on the right side, compared to the "wrong" side!

[soft scraping] Okay, now we can go ahead and build some clouds.

Remember last time that when we started on the clouds, we had just a little more vitality in them.

So I want the same thing to happen this time.

I have White, maybe a touch of Blue, and just a little Red, so it'll give a little pinkish flavor, like that-- I love that!

We're using the same cloud formation, maybe adding a little extra up in that corner.

And you always address the bottom of the clouds with character as well.

It softens, but it's very supportive of what's up above.

In your eye doesn't stay and see an even cut-off stage.

Okay, I think that's enough.

Now that is certainly going to be secondary to the lights that we'll put on the big wave.

But I do want to come over to the right.

Oo, boy that's pretty!

Ah, that's good, where is the sun coming from?

It's coming from the right.

You can judge by it hitting the backs of our swimmers.

That allows me to be lighter over here.

Okay, let's see if that's enough.

We'll say it is, knowing that we have another time to judge this.

Let's come right down to the water, and I think what I'll do first there is take some Ultramarine Blue, just a flat sable brush, just to emphasize a little bit underneath the wave.

We want to make sure we have some out here too.

When I put this out here, notice where I place this.

I place it there-- that's not the edge of the water, but I want to be softer as I go out further.

Then make the water straight across, let's see, I better come down here, straight across, straight across, so the water needs to come up just a little bit there.

And I put this on, now let's blend this.

And we'll come down to the next place and blend it.

And we'll eventually put some foam patterns in there too.

Right now we are going for the big dark.

This has a nice dark there.

Is there anything such as a bad dark there?

No, nice dark there.

A little bit in here, then the same way there.

I need to measure there to there is the same, so that waterline comes across.

So you have a softened, but a straight horizon.

Okay, so this one, just blend it down a little bit.

That is another area where foam patterns will certainly help.

Now down below-- did I put some dark in there?

If we get, good, if we didn't, we are adding it.

Take the bunny brush, and I'm not even going to clean you.

You have a little bit of Alizarin on you from the bath, and let's just blend with you anyway.

Always going for a quality of strokes.

Oh gee, I like that Alizarin in there.

Keep it!

And just even a small floating across-- we may have already done that, it looks pretty soft.

Here I'm blending, and just a little stronger blend down lower.

Good.

Okay, now let's go ahead and put some lights on.

I'm not calling this final lights, but we're putting lights on.

And what color did you want to have, Buck?

I want to have some White and some Yellow Ochre... right up here.

Put some more white in.

You got a lot of this to do.

Good.

I feel that the fan brush will be the brush to use.

So I'm taking a dry fan brush, I'm taking a clean, dry fan brush, and touching in with the Yellow Ochre and White.

Notice the filling of that-- it's just on the corner.

And that gives me a lot of control.

What I often will do, and I'll do it today is, I place it on without blending it right away-- we can go just a little higher-- so it has a chance to get acquainted with its seatmate.

Then when we soften them, it's a little more control.

I've said this before, but let me say again.

When you put these small, little waves in the back, you need to think of variety.

Notice I don't go solid across there or just on there so it's one hard line.

This, a little wider there, a little more narrow there so you get a little bit of grace into it.

I don't see any on the backside before now, but I'll put just the smallest little line out there.

Okay now, let's go on the big wave.

The big wave, I'm using kind of the full fan brush, because we have a large area to cover.

This, if you didn't remember, this is dry.

I put Walnut Oil over it a little bit, I think, yes.

But I kind of wiped that, so that's dry.

It doesn't have anything that's going to keep us from making this just right.

I'll place these on before I blend them.

Oh, you come right against Tim's head.

So when I get home, my daughter will say, how come it wasn't Tanda and Donde?

Well, next time.

Right?

Watch, watch here.

There's a line right there, that's where the wave is.

Then you look at the original, and I'll point.

You say that's all right, it is, but part of it is the foam behind-- it's been riding in, and it's left its track.

I do need to come down close to David's head too.

In there, in here.

How close to Tim?

You say, well, how do you remember them?

David's going to be a little more blondish.

Where did that come from?

From the bottle!

Oh, I wasn't supposed to say that!

Sorry Dave!

Okay, let's go ahead and blend those now.

Gee, this one, what happened up there?

Okay, now I'm going to take your neighbor, which is the fan brush, but the size is a little smaller.

I just kind of really need it very dry.

Splash up a little bit, and when I splash up, it's noticeably softer than the quantity.

And then this one.

Great.

And just the smallest touches of-- and I'm using cloud color-- there's action back there, there's a little wave.

I want to make sure that they have a variety of widths on them as well.

Maybe a little one over here, just a little peeking up, like that.

So you go gradually back to the horizon.

Now I need to blend this a little bit.

I'm going to leave this just for a second, it'll dry.

We want to put some foam patterns on.

Foam patterns, I'm taking some of this gray that was this color, and we'll make those.

I want them to feel like they're the previous wave, and they are being drawn up into the oncoming wave.

A variety of shapes and sizes, just a little wider there, less over here.

I said this before, but I want say it again.

When I first was starting to paint oceans, they'd call me a very spiritual seascape artist-- anybody could walk on his water!

Because it was hard.

So I've overcome that by making them right.

You put these on and I'll blend them a little bit, because that's their nature, to be soft.

When they hit against your leg and so on it doesn't cut you.

That had some movement of the water.

We have some in this big wave.

Gee, we've got quite a bit.

Let me give you, I guess you'd call it a mnemonic.

And a mnemonic is dash, dish, not dish-- desh-- d-e-s-h. And if you think of that with foam patterns, you will have great foam patterns.

The D-- direction-- be consistent in the direction.

E is a variety of endings, some curve, some go straight.

S-- size.

Some of them are larger, some are small.

And H is height.

Some go clear to the top, some don't.

If you remember "desh," you can make great foam patterns.

And you can still be a spiritual seascape artist.

I'm making it quite light down against his body.

Then eventually we'll have good strong light down below.

There is another way of doing this too.

If the foam is real light, which this isn't, but let's just say it is, that this is too much, you take just a little bit of your water color and make just the smallest little opening.

That breaks them up.

I'm going to take some of the lightest light which we used on the foam and just push this down in here.

This is the edge of the wave.

Now what I want to do is push this a little bit into what's already there, the gray one.

So you get the feeling of form, light into dark.

Where did the pink come from?

Oh, it was on the brush, it wasn't my fault.

No, I was going to congratulate you, not chew you out.

I would let those set, then when it's dried a little bit, then we just float across them.

So on the other side, we'll do the same thing.

We'll start with the middle, the grayish foam pattern, and always thinking direction, direction.

Endings-- variety in endings; this one has a curved one.

Variety in sizes-- see how that is wide and small?

Height-- this one is going clear to the top.

The next one won't.

You've had your lesson-- you're going to be tested on that.

Okay then, like we did on the other side, we are going to take and put the strong light down at the edge of the water.

And I'll turn it like this so I can see.

I want to come right against that edge.

And that, of course, will continue up a little bit past the foot.

That looks good.

Um, we might bring this down just a little bit.

It does curve, but not quite as much.

A little more like that.

Now let's go ahead and blend slightly the big wave.

I'm using just the corner of the brush, the fan brush.

When I say corner, it's half the brush.

Push and flutter.

Oh gosh, this is so great.

And you be sure and come back next time.

It looks good now, but we'll finish it, we'll work on the boys, and we'll see what else has to happen.

Probably the foam patterns.

It would almost be best if I let them set up over, for the week too.

Then we'll blend those, they'll be a little more workable; more apt to save them.

Sorry Tim, right behind you.

When I think of form, which I constantly do, I'm bringing the light down, but you can see there's a little bit of the blue there, the grayish blue.

So you get a little feeling of form.

That is to me one of the most important parts of any painting whether it's a person or a landscape, seascape, is the feeling of form.

And there's other things too.

I don't say that's the most important, but it certainly needs to be there.

I kind of like the way that looks.

Okay, we have just a little opportunity here.

See, it's hard to tell where the sky and the foam meet, so I'm taking a little bit of the foam, the lightest light, but not as much, so it doesn't look real light.

And I'll push that over, and then you can see the edge against the sky.

Okay, on the area here, I want this to go up a little higher.

So let's push that up; I'm using the lightest light, very small amount so that it thins out just right away on the wave.

I'll splash, I'll come out a little there, so it has just a little ready to fall back down.

Oh, it's so neat to have the time to do this.

Three shows is such a blessing.

Now we talked about here, having a little bit of the blue down there.

See, inside, look at that-- it doesn't have any of the blue.

So I'm going to add some of the blue right in there so you get the feeling of form.

I'm glad I discovered that rather than somebody at home saying, Buck, you didn't do it right, didn't do it the way you preached.

Come down, just watching again the edges so it has just a little reaching quality to it.

Reaching down, same way here.

Okay, what about you?

Well, I don't think I'm going to do much.

So when we come back, we will blend that, And we'll put work on the rock and on the sand and on the bodies.

♪ Everybody y'all come back.

A little lighter right in there.

♪ I think we have it, I think we have it.

♪ We need to hear the crowd... cheering... [Imitates a crowd cheering] I haven't heard it.

See you next time-- The finishing job for "Surf's Up!"

See you then.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...