If someone criticizes your art, simply raise your prices!

It works every time!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ It's so true!

If I put $15,000 as a price tag, somebody's not going come up and say hey, is that rock a little wrong?

But if I put $150 they'll say oh, that's why, because that rock's a little wrong!

There's so much psychology in what you do in presenting your talent to the public.

So we're on stage two, we are doing the oil stage.

We have completed the acrylics stage and now it's kind of fun time.

Again let me just say this.

This is my 14th year doing these shows.

Twenty-five years ago I started and did some but the latest now, this is the 14th year and if you want to reach me, I have a web page.

Some of the paintings may be $150.

No, you can't quote that!

That can be deleted.

Okay, here we go.

Walnut oil!

Oh I looked up and I thought should I be touching this canvas?

Of course!

This is the one you're putting it on!

Dip in and just splash it on and when I splash it on you can say well, you haven't done it very evenly.

That's true, that's on purpose so I can use a paper towel and thin it around a little bit.

It doesn't necessarily stick real well, but it makes a nice bonding so when we put on the oil, and the oil, then you pretty much can put it on without having to use any extra medium.

There might be a time when we'll have to dip in a little bit.

Now we've had what we call a Saturday night bath, and that's putting a wash of color over the whole thing.

This time I'm using what you call mudpack because it's a color with a little white in it.

This happens to be Dioxazine Purple with a little white.

I'll use the same large brush.

I wiped it so it doesn't have the oil in it.

This is the color.

Now when you put this on, you'll think gee, what are you doing?

It gives a kind of a unity throughout and it also makes it when you work into it, you watch it blend the colors quite well.

Now this, of course, is very like the oil in the respect that we don't leave it that way.

We'll take the paper towel and... nice catch!

We'll push this around and then decide how much of it to stay.

[soft scraping] You have just the thinnest little glaze sort of, but it's mudpack because it has white in it, but by doing it that thinly it's almost like a glaze because you can see through it.

All right let's go ahead then with our colors.

This is Payne's Gray, Permanent Green Light and white.

You say well that's what you put up there first.

That's right, but now watch it.

See how it just thins in, and when I push this on, I want to emphasize that I don't have a lot of paint on the brush, I don't have a lot of paint so it will let some of the color that you put on the mudpack still show through.

That can represent either a haze or distant clouds or what have you.

Here's something I notice.

I don't know if I want to keep it or not.

At the moment I feel like I want to keep it is maybe a little distant cliff.

Well, we don't have it in the original, I guess we better get rid of you, but you could've, could've done it that way.

Okay, clean the brush.

Oh this Walnut Oil-- oh shoot!

What I wanted to tell you, when you clean it, just dip in so you don't muddy up the whole thing, which I almost did, but I didn't.

All right here's the Anthraquinone Blue and white.

This will be used for several places, the first being the distant cliff.

Oh, I like you!

Now, when I put this on, I'm starting out here, but you notice I didn't come quite to the edge, because I want to have less paint as I come to the edge, and then just push it around a little bit, and you can kind of create your character as you do that.

I chose to go just a little higher on the end rather than straight down.

And I'll come over to the right and again, you're working into the mudpack color just a little bit, but you see how you can see the color there?

Isn't that pretty?

A little bit up there.

While I'm over there, I'm going to wipe just a little bit harder on the rocks, because they'll be quite dark.

Okay now the same color that I just used on the cliffs we're going to use in the distant water.

And you have in the distant water, you have some of the green that was there from the priming of the canvas and from the acrylic, then we have some of this going on top of that almost purple look, so you're going to have in the finished picture, the color scheme, you're going to very well have some of that green still showing.

Let's come down below the wave here.

This is sort of helpful when you go right on from the top and you come on down.

You don't have to do it that way.

See, sometimes we'll say, we'll start with the center of interest, and you get that on, and then everything else works around it.

It's almost like doing a portrait-- you do the eye first or the eye last-- yes!

If you do the eye first, then everything else works up to it.

If you do the eye last, there comes the dessert.

So now we're kind of doing it so we'll have the dessert last when we put the highlight on that foam.

Okay what happens here?

Just a little bit on that rock.

And I can leave these lines at the moment, because I'll be putting a highlight on there, otherwise you sort of watch.

You know, that guided me-- out in the back.

That's too much of a line left there so I'll quit pointing that to you.

And we just do that like that.

Okay, now let's come down into the big wave.

When I say dessert last, that's the highlight on the big wave.

Right now we're just filling in the shadows.

This is a fan brush, and I have this over here.

You recall what I said last time is that we do the rocks last, so we don't have any mixing of the dark with the blue.

But what I'll have to do here is, once I have this on and have the rocks on, then I'm going to come back and soften it a little bit so that softens into the rocks.

[soft scraping] As you're doing this you're always conscious of the color that is there and the color you're adding on top, and what I mean by that is twofold.

One, yes, you have the mudpack color, but the previous color, we used a different blue under here.

Ultramarine Blue and white, and this is Anthraquinone which is, there's just a little difference in the two which gives it a nice vitality.

Anytime you talk about quality of colors, I'm referring to allowing different colors to show through each other.

Quality not being whether it's good or bad.

[soft scraping] So I give you a couple of seconds to think about what in the world is he saying?

What in the world did he mean?

I'll take some of this where I've just put it on here, and let's go back in here just a little bit.

And the same thing here, we have a couple lines that are still showing, but we'll get rid of those when we put on the highlight color.

So I'm kind of cutting in here, right in there and then this separates those two.

Okay, coming down below, we'll come right along the bottom of the rocks, and when I do that, what I'm finding-- you're not real tight in there.

You go over, it goes over a little bit the lines.

There wasn't even one there, now there is.

What about on the other side.

Just a little lower on that to soften that, and then on this.

When I do this I want to make sure that I'm always watching the bottom.

You're dealing with foam, you're dealing with foam, and it has the softness in that.

It's not going to break your leg as it comes in.

And here between this foam and this little water along there see, there's a little action in between so we just kind of push a little bit of action in between and over in here we have some action.

Do we have any in between?

Could be.

Why not?

And then we'll go lower.

This again, we're going to work towards building what will be a nice pattern of foam moving in there.

That is so helpful because otherwise you have a horizontal look, a horizontal look, even though it has the nice curves, down below you have the nice movement for the viewer to go into.

And here's the other thing.

When you have no shore, then the viewer looks at it, there's no shore, almost feels uneasy looking at a painting with no shore.

However you can do this where I have a very strong foam pattern down there, and that gives security for the viewers, so that's why you're able to enjoy it.

Push a little bit of this over to the side so as you look at the original you can see what we have there.

Now, I'm not doing any special foam patterns yet.

Just kind of push to get some foam color on, and then we'll work with it a little bit as I suggested would be kind of a new experience.

Okay we'll go over to the right, a little bit of foam here.

I'm going to slant this one down, this is just a little straight across, so we'll slant this down like that.

And then down below we'll also bend this just a little bit like that.

A little bit filling in the gap there.

Okay, I'll take just a gentle sweep across what's happened.

Across the sky, softening just a little bit into the cliff and the sky.

Down into the water behind the wave, little bit of that blue which, nothing really changes much there.

A little bit here where again, waiting for the rocks to come on stage but I'm going to put the highlights on first.

And then down here like that.

Okay now let's go ahead with the foam, the highlight.

I dipped in and cleaned the brush the wrong way.

Just dip it in and pull it out and wipe.

That Walnut Oil is excellent!

So I have mixed up, but I wanted you to see it.

This is Raw Sienna and white, but after I have the Raw Sienna and white, you can see it right there, is that I put just a little bit of my blue into it.

And it makes it a little less than white, and it's very powerful.

Okay let's go ahead and use that.

Again I'll make sure my brush is clean.

Dip in, lift out.

Very good Buck!

Oh, I love doing these shows.

♪ 25 years... a long time.

Okay here comes the big foam, and when I'm putting that on, I'm starting just a little bit inside.

Inside, so that when I come to the outer edge, it'll be just a little more gentile.

Okay, and again I'm just kind of filling in an area.

I haven't addressed the lower edge at all.

But now I'm just putting the highlights on.

What's nice about the oil portion which this is, is you can put these on and let them sit for a while and then come back and blend them, and it hasn't dried out.

As I go down from the canvas, let me just put a little bit on and then I'll show you what I mean.

As I go down from the canvas, I kind of wipe the brush and then take a fresh load.

I don't know why I do that, but I do it.

And a little more here, just a little bit there.

That's a nice secondary rock.

A little bit in there, and a little bit back here.

Let's have just a little bit there, a little bit here, kind of some distant waves.

I'm going to blend this a little bit now.

I'm blending this and splashing up just a little bit.

This is my back wave.

This is my back wave.

Now we'll do a "chest" wave and then an "ankle" wave, but you're the back wave!

Oh you're so clever Buck, we just love listening to you!

Okay, splash around there.

This is a nice help, this wave.

Because you got this one going across there, and this one's kind of digging down this way.

Now watch one other addition, this is with the foam color.

Right behind here, it'll help this wave move a lot by just a couple strokes.

One there and one there.

I'll blend them, but you can see their movement possibilities.

It kind of continues from there.

It really pushes that forward.

So now disguise it a little bit.

You know what?

On that original, well when I do the rocks, I'll do it.

But I'm looking at the original-- that rock comes down and touches against there.

That rock needs to come down lower and touch against there.

So let's go to the blending now of the big wave.

Maybe I better just while I'm there just soften a little bit, the back one.

Okay now, let's blend this.

Now again I said that I need to push this up to the edge.

That's pretty definite, but it doesn't have great quantity.

A little less up above, and then the blending down below towards the below.

I always explain when I do this that you almost want to make like it's an animal that has-- this could be the head, this is the body, then it has its feet because it's so easy just to blend down, then you have just a round apple but you want that little character at the lower edges too.

This is the lower edge in that case.

Now, I do have a need for just a little secondary one splash-up.

When you got that large a wave, then you want to have a second one too.

The second one will work so you can feel like the foam's coming in, it isn't all of a sudden just straight up.

Okay here's the secondary one.

[soft scraping] And I'm blending slightly what's been placed on before.

Okay, come down a little bit.

These as well have that angle, see the angle that's coming in?

Then there's just the smallest little one down near the rock.

It's so nice to come there when the rock is dry, and come on this side again with the idea of the angle.

And I'll blend just a little bit on the top, and as I do that, it makes so I don't have quite as the sharp of contrast there which is better.

Splash a little bit up on that side so it gives just a little movement.

Okay coming down below, I'll wipe the brush, I already have paint on there, oh I had paint there too.

So we'll just blend those.

It's so important that you take each small area or one large area and consider the values.

So we have a highlight value, and I usually call it we have a number one, and we have a number three.

To make the two you just soften the bottom of the number one without losing the number three.

And this can have just a little extra light that instead of just ending there that it just continues down here.

Let's splash it just a little bit around.

These are, they're separate, so you have to kind of be a little lower.

You're under the bridge, you're on top of the bridge.

Like that, then they're two separate ones.

This splashes up slightly.

Comes over to the side like that, then I'll just take some color on the brush and just go back and forth over in here.

And then down below we'll get kind of a generous chunk.

Oh, I love doing these shows!

Don't you ever quit watching!

But you need to support your stations.

Oh, PBS!

Thank you, thank you!

There's a little bit right at the bottom of the wave right there, there.

Okay now, I want to show you just a couple things before I go to the rocks.

This is taking dark.

You are blue, Anthraquinone Blue and Payne's Gray.

So this is what I'm talking about, an easier way to do foam patterns.

Okay, let's take down in here.

First I'll put some dark there, then I'll just notch a little bit of openings.

I'll soften those too if they feel a little too dark, but it's such a nice way of doing foam patterns easier... easier.

Let's put some more over and I'll kind of wipe the brush so I don't have too much paint.

Oh, even John Harris could do foam patterns like this.

Wherever he is, whoever he is.

Okay, little bit of accents here and there.

This has a little accent, a little peak... a little peak.

Anyway, you get the idea, so I'm going to leave that and go to the rocks.

The rocks are Payne's Gray and Burnt Umber, equal parts.

We're, you know, we're burning daylight which means if I do a couple of the rocks, then you'll get the idea how the neighbor is done, but you fill the whole thing in.

I'm going to use a larger brush for you.

Okay, for this guy.

♪ And a little Payne's Gray.

Oh, I love doing the ocean!

We live a block from the ocean, that's why.

Be sure and check out my web site, because I have oceans and ♪ fantasy.

Okay we have that rock in, just a little bit on this guy.

Now, see on these I want to be a little more gentle so that the mudpack color works as part of the foam on that.

I'll bring this one down just a little lower as we had spoken of earlier.

The middle lower rock right here, I'm taking some of the blue color, I ran quickly to get it.

That will have to pay a price, Buck.

Okay, let's go to the next one, next rock, we have a little bit of this.

And this, I'm just working right into that wet paint, so you'd let it be a lot of the system and remember what we said earlier on this rock-- I'll do two things-- I'll wipe a little bit, then let's have a little foam color on here.

What color are you doing?

I wanted to use blue, not-- there that's better.

Not the highlight color!

Soften it, soften it, soften it.

I have time to do one thing that I just really love to do.

Let's take this highlight color with the knife.

Watch how I fill it.

Snowplow-- Minnesota snowplow!

You can see how that really puts the quantity on.

How come, how come it's working so good?

A little bit on this side and more down there.

Oh it's been grand doing this today.

It's been exciting.

Now watch this-- taking a knife and just kind of tapping.

This knife doesn't have any paint on it.

[soft scraping] Gives a little misty look.

If some places you find if it's too repetitious, just knock them down a little bit.

I love doing that where you're not using much of any paint, but you're touching it making it happen.

Thank you so much for coming today.

I hope it's been a pleasant day for you and that you've learned how to paint oceans a little bit more.

We'll see you next time, okay?

Bye-bye.

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