There is no growth in the comfort zone.

And there's no comfort in the growth zone!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ A new season.

A new season with Buck!

And what do I have for you?

I will show you.

You're going to have to watch each week because basically we're doing these two parts.

First part, acrylics, second part with oils.

You have to see both parts to see it finished.

We're going to start with acrylics today, and I want to show you how the canvas has been prepared.

We have done it with acrylics.

It's one part Payne's Gray, one part Permanent Green Light and 6 parts white and put that on and, of course, it's dry before you put the drawing on, and I've outlined this with Ultramarine Blue just so it's easier for you on the downloadable tracings.

That's what it is.

So I'll go ahead now and show you the paint we're going to put on, which again I said acrylics and acrylics can be a great friend because they dry quickly, and then you can put the oil over them.

You don't do it the reverse manner, but you can put oil over acrylics because the canvas, when you first get it, it has a prime on it, and it's with white gesso or whatever, so it's acrylic.

So acrylics going on acrylic, then the oil goes on top of that.

If you use just a straight canvas with oil, it's the same thing-- it's oil over that priming.

Let's come down to the palette.

I have mixed up, and I'm going to mix up just a bit more.

This is Permanent Green Light and I have a little Payne's Gray with it and I have some Yellow Ochre just to soften it a little bit.

Let's bring Yellow Ochre over.

I have to borrow you, thank you!

And this will go in the sky.

I have a fan brush, I dip into the water and come out and swish into the paint and then I come up here.

I told you the priming that I have in the canvas, this isn't much different.

It's just a little bit lighter, a little bit warmer.

And what also happens is, you do this, you let some of the underneath show through.

You can see some there and some there around there.

I just love doing these shows, and I love the comments that you the viewers make.

And I also love it when the viewers will send me one of the pictures you've done while doing this.

And I make little comments on it.

That should open the flood gates, shouldn't it, but you're welcome to do that.

I really appreciate your viewing.

All right, now we'll come over to the cliff, and I have a color.

This is Ultramarine Blue and white, that's all this is.

And this is going to go quite aways.

I'll do it on the distant cliff.

Then we'll put them down in the water and eventually down in the foam.

Now when I do it on the distant cliff, I'm pushing it up, and notice how I'll go to the line and then even go past it a little bit because I don't want a hard line there any longer.

And this will also be-- oh, I didn't go far enough with it, did I?

Go further with that.

This is, it has a little bit of water on it, but I don't want it too thin.

All right, let's go down to the water.

When I say the water, I wasn't referring to the cleaning water, although I did pick some up.

I'm going to use the same color, but I did want to wet it a little bit, the brush, so it goes a little smoother.

This is on the distant water, and I want you to pay particular attention.

Let me point at the original.

See there's a lot of the canvas that is showing there so we do selective covering as well now.

I do want to come closer to the line there so I disguise that line a little bit more.

Over here I'm not going to go up to the line because the green is there.

But let's do this, let's just backtrack a little bit.

Let's take some of this green that we used in the sky and I'll bring this down to cover the line.

Like that.

I love this-- in the last series we talked about this is where my students, when I teach in Santa Barbara they'll say would you kind of talk to us as you're painting so we know what you're thinking.

So we said we're going to talk our walk.

Talk the walk.

You've heard it in sports "Oh you better walk your talk."

But we're going to talk our walk.

But at the same time I want to talk to you.

I really enjoy your being here and I want you to feel that you're part of it.

Continuing with the water.

I'm coming down to this area, which is below the waves a little bit, and you do have rocks, so rocks there, but there's some foam here too.

A little bit of splash-up foam there.

So I'll push this around.

We're going to find that this will be just ideal so that when we come with the oil we'll make use of this acrylic underpainting.

I discovered this underpainting technique years ago in California there was a gal that would paint acrylic first, then some oil; I never thought much about it until-- and I'm still doing the same thing here.

Until I ran into a fellow down in Florida that was teaching, and he would kind of block in several things on the canvases before the students got there when he's teaching a workshop.

So they'd have the rocks blocked in and that way they could find them, then he painted straight oils with it.

I thought well gee, if I can do a more complicated painting by quickly putting in things that will be dry, then that would be great.

Okay, a little bit water, and we'll come into the foam.

This is a little different than some of the other oceans I've painted.

Two things-- listen to the first one-- if I say that's a blind wave-- what does he mean?

No eye, no eye!

And the other thing is, I'm going to leave a space for the highlights to be put on the foam rather than fill the whole thing in flat and then put the highlight on top.

I don't know if there's an advantage on that, but we're going to do it that way.

Okay, now let's come down to one more spot.

Let's see what we have down here.

We got another little wave there.

It's just a little one in front.

Notice when I put these on in this particular case, I have a little bit of grace in them and a little bit over here too so that it's not just a piece of sausage laying there.

You want to really help yourself by what kind of rhythm do I have?

Is it pretty?

Just with being incomplete.

See like this wave, there was a temptation to fill that whole thing in, but if I have this grace and like this, then no matter how much more you do or what little you do it's going to feel good.

Now down below, and that's in this area I'm just going to swoosh back and forth this will be where some will have the real impact foam down below there, and I'll put a little bit more over on the sides.

You're going to find when we come to the oil portion of this when we finish this next week, you're going to have a little bit different way of doing foam patterns, and you're going to say Buck, I like that new way of doing foam patterns!

They look good, and it's a little easier to do.

So you'll have to stay and watch that.

Won't you?

Okay what else?

What else?

Let's go ahead then, we'll take and put in some rocks.

What color are you?

You're Burnt Umber and you're Payne's Gray.

I have equal Umber and Payne's Gray.

Now I'm going to put the rocks on and they're, you can say they're kind of going in last.

Is that important?

Well, it's very important when we do the oil stage, because we don't want to have wet rocks and then try to put the foam around, it'll mix in.

But if we put the rocks in last, then you're not going to be fearful of bumping into anything.

We have a rock over here.

And even on this, sometimes just pushing it around a little bit lets you make use of some of the underpainting, the underpriming.

We have a large rock, well you can do the job but you're going to have to rush.

♪ Doo doo doo doo doo Yeah.

This is still the Umber and Payne's Gray equal parts with water.

And I like this just kind of pushing, rubbing around like that because you have, it just looks kind of accidental.

We have one rock, actually you're two rocks right in the middle there, and then we have a couple out here.

And a partial one there, and over here it looks like we have three.

I'm going to change that a little bit, go a little higher and just a little bit more like that so it wasn't just triplets over there.

Speaking of triplets.

Okay, so this is the way it goes.

Like that.

Years ago I played baseball and I played with this team, the Fargo-Moorhead Twins!

What would it had been like if it was Fargo-Moorhead triplets?

Why did they end at two?

I don't know but we had a good team, I mean we were good sports!

We lost a few games.

All right, now I want to come with Viridian Green and Payne's Gray.

Let's add just a little white in that and see what we get.

Okay we'll add more Payne's Gray.

So my formula is 2 Payne's Gray, one Viridian Green, and then you add white into that.

I didn't keep track how much white... on purpose.

Okay this is going to go along here at the bottom of that wave, and when you do this, it's of necessity going to be a little sharper as you cut against the edge, and we take care of that more in the oil stage.

When I come down below, below that, I'm just a little casual.

And what I want to point out is, first on this one, see, you have another color there.

You got dark underneath, another color in there.

So I'm going to leave that sort of open and same way under the rocks.

There's going to be some foam along there, so I'll leave a little space for that foam to be.

Over this side I'll come down just a little bit.

We'll wet the brush, and we'll come under here.

Remember how we're talking about the grace.

You can see it more now when I do it that way.

My changing voice is merely to make you see-- What'd he say?

[in high voice] He said!

Okay come in here.

Then when we go to the sides, I can be just a little darker.

How are you gonna do that?

I'm going to add some more Payne's Gray.

Payne's Gray and green which we used earlier, 5 minutes earlier.

But this is just a little bit darker.

Not much.

Could've gotten by without doing that.

Huh?

Little bit there.

And let's come over to the right side.

And a little higher.

Up in here.

Okay, we have time to just put a little bit of that foam down under the big wave.

So this is going back to what we used earlier and this is under the rocks.

Splash just a little bit there because we'll have some foam coming down through the rocks right there.

And then what about, let's see, this is all right.

We'll take just a little bit of this foam color, and I want to point out where I'm gonna go.

This is the beginning for some foam patterns, so I'll push just a little bit in there.

Not thinking that hey, that's a foam pattern yet.

And down below here.

Coming over into the dark water just a little bit.

I guess the thing that I would want to stress most in this stage is when you do it yourself that you do a little more careful work, For instance over here, see, there's no reason to have those little openings like that.

A little foam here, and then I need to go up on that big wave more with this color over in here.

What you want is a little bit of the end of the foam, the far side, the shadow side.

It's not your first attention- getting device or area but see how straight that is, and on this one you have the nice curve.

So let's just push this out a little bit like that, and at the same time pushing it out, I soften it slightly.

Feather it out, that's the nature of foam.

Very fleecy you're not going to break a leg if it hits you.

You're just going to drown-- no that's not true.

You have to be careful, and you have to be willing to get wet if you're going to paint some of these glorious scenes.

All right, let's see.

I'll just push around just a little more careful work there.

So I'm filling in those corners.

They're going to have to be done, because next week I'll say I wish I would have.

A little bit of this just coming through here.

I see that so it has a little dark there.

That's good.

It takes some doing, and often you will find-- oh gee, I should have done this earlier.

There's no big mystery if you don't, but it's helpful if you go a little further with each stage and that's what I try to do when I teach workshops or teach on television is, the first stage you try to spend a little extra time so it gives you some help in the finishing of the work.

Okay here, this is just a little sharp.

I'll curve it up slightly-- remember what I was talking about is that you're always having in mind the grace of everything.

Now just look at this, I haven't put highlights on here yet, but you have the nice grace moving up like that.

You have this back wave has kind of a curve to it which is nice, a sway.

And then down front, this isn't as much movement as the back ones in direction but it has a feeling of there's action down there.

You have, as you look at the original, you have that general feeling of this moving on down towards the right which is very helpful rather than being just too parallel.

This right now is a little parallel, but when I put in those lines, it will help a lot.

Okay let's go ahead then and start putting some highlight on the big wave because that's really the dessert.

This is white, this is Yellow Ochre and I'll get just about what I want and then I will add a small amount of green.

Which green should I take?

Let's take this one.

Now, this one is the mixture of Payne's Gray and Viridian Green.

It just takes it a little off that real light... as compared if you used just Yellow Ochre and white.

Now that's still a little golden, but it'll be excellent, so when we put on the oil it will have that vitality underneath.

So when I put this on I'm going to take a fan brush, but I'm washing it, but I'll put it on very dry because I want quantity.

We'll start right in here.

This is the impact of this ocean-- that's what you look at first.

That and then it's got a little neighbor here, and the neighbor does great work because it's against something dark.

This one... quite aways before you get down to the dark.

But your center of interest is right in that area so we're going to go ahead with this, and I'll go right again to the line, cover the line.

If you go up just a little bit above, that's fine.

Thank you for tuning in today.

This is great!

I love doing the shows.

I love talking to you, and I love talking, I guess.

Okay, so we come down here, we'll curve this out just a little bit.

When I say curve, just arch it slightly and I can go past that line.

When I come down to the edge of this, I'm not-- this is dry this is dry already, so I'll just thin this out a little bit.

When we get to the oil portion then they will have a chance to blend into each other.

[soft scraping] But you do have, and I'll have just very little paint on the brush when I do this one, I have a secondary highlight down here and when I say secondary, you can see that it's not as much as that.

Take this go over to the side; we'll put this in here.

I'll put this on kind of fast.

Arch a little bit, then same thing with that, you just soften the lower edge because it doesn't have anything wet to blend into, especially under these studio lights.

You may find when you do it yourself that it will blend just a little bit.

It's not that necessary since I'm going to come with the oil on top of it to blend in now.

But do some careful work.

You can see there-- I'm going to take a little finger and run up-- I don't want it quite straight across so I'll bring that blue down just a little bit.

That has just a little more natural splash up.

We'll put some light under, on top of these waves.

Always thinking form.

Where's the light coming from?

It's coming from upper left.

As it touches these, it's going to be-- see, this is the upper left of that, the upper left of that.

I'll put some down on the waves.

Where are you?

You're right here.

Oh, there you are.

I was thinking you were lower.

And down in here, then we'll take just a little water to get a little more quantity kind of splashing down lower.

♪ Lower... and there.

Now I want to, because I got a chance to do it.

It hasn't dried yet, I'll just soften those ever so slightly.

And this one.

Oh, this is so much fun, but you have to come back!

You know very well that we have more work to do.

We'll do the oil stage next time.

I'm wiping just a little bit of the quantity there.

I think what I'll do just in the last little while is take some of the sky blue color, and we'll put just a little feeling of light on there.

This gives kind of direction of the character of the rock.

And it's slanting that way.

We have this coming through a little bit there.

Nothing on the back one, when I say back one I mean nothing on the large one; on the back ones we have a little bit of that same direction.

So this has been the growth zone.

I hope it's been a growth zone for you.

It's been a comfort zone for me to tell you how to do it, but we will always look forward to the oil stage!

We have struck oil!

[laughs] So anyway let's see, I guess that's about it.

So we'll just soften that a little bit while we can.

This is good, maybe bring down that water just a little bit, see what happens there.

Nice curve and I think that will take care of us for this time.

Is that about it; do I say good-bye to you?

Thank you so much for watching, and be sure and come next time.

And if you ever have any questions, we can help you.

This is going to be great.

We'll have the oil stage next time.

See you then.

Buck saying see you later!

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