I must go down to the sea again.

And that means week 2 on the seascape.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ Welcome back to my world.

I live one block from the ocean.

That's my world.

Do I see waves like that at the sea?

If I want to I do!

So sometimes you have to use your imagination a little bit.

So let's show you how we start this.

It's a little bit different.

I have Walnut Oil, and I'm going to put this on the canvas, and it has a little green of envy on it.

You don't need to do the green, just the Walnut Oil.

Now I'm just spreading it around like this.

Now we use a couple different techniques from this point on.

One is called Saturday night bath which would just put a pure color into that glaze of Walnut Oil, or we're going to do what we call today the mudpack, and what I mean by that is it's got some white in it-- the mudpack!

So come down to the palette.

This is Ultramarine Blue and White with a touch of purple, and this is going to go on the canvas.

And when I say on the canvas.

It's just like one day I had a painting about done and I get a call.

I guess I was at church, and the babysitter says, "Oh, Tim got into your paints, and he put them all over your canvas," and it looked something like that, and I thought oh, that's great!

I know what to do!

So I take and push this around, and it puts a thin veil on everything that you sort of work into.

The thing about the mudpack approach and the Saturday night bath is that it takes very little paint to achieve what you want.

[soft scraping] I love the unifying effect that it has down here.

Now, when we started this, we started with the water and went up to the sky.

I'm going to do the same thing this time, and I'll start with some Ultramarine Blue.

That's what we used before, but now we can kind of control it a little bit, when I say "control it"-- the amount.

So I'll put a little bit in here.

This becomes the shadow under the big wave, and I'm very conscious of care, that I make a nice blend.

And the degree of the mudpack, you can see it's not very thick; it's quite thin.

[soft scraping] Now I may still come even a little darker than that, but we'll go over to the side.

[soft scraping] This one, as I was putting that on, you could see I cut into it a little bit.

It was a little bit, just parallel line there, and I didn't care for that look.

Okay, now I'll blend that, and that comes down aways.

I'll wipe just a little bit where that foam pattern was, and then we'll come to the lower wave.

Still Ultramarine Blue, and working into the mudpack.

Pure Ultramarine Blue.

[soft scraping] Okay, I think I have, yeah, you came on the bus.

My blender, my mop blender!

It's nice to have a blender when you're doing either the Saturday night bath or the transparent, Well, the Saturday night bath is transparent and this, the mudpack, is opaque.

So it's nice to blend them so you get rid of any hard edges.

Let's go up a little bit to the next wave.

I'll use a little less paint and come here.

I like this as it touches against the eye.

You can see the little contrast right behind there, then come over on this side.

It has such a nice effect right away.

The thing I like about it, you have a degree of softness in it now, and then you decide where you want to build a little extra lights always with the idea maybe I can stay a little softer, because I like that nice soft blend.

You can have power, even with being a little quiet.

That's what we're saying here; a little bit of the blend.

This little rising wave back there, and let's again blend it.

Okay, I think I'll let that set for a while, meaning that we won't put the highlights on yet.

Let's go up to the sky, and on the way to the sky, we'll pass this big mountain.

So I have a small amount of the Ultramarine Blue on the brush, and as you might note as I place this on, I don't quite touch against that little highlight in the sky, so it isn't too sharp.

[soft scraping] This-- pushing this down.

This is another place that I don't want to be too sharp, because I want the misty feeling that's above the wave.

[soft scraping] That's a good blender brush.

When my mom was living, she was 25 miles from here.

She would always see the shows, and she'd kind of tell me, [with harsh tone] "You used your finger again!"

She was a great fan.

I don't mean to imitate her in a derogatory way.

Okay, let's go out to the sky, and when I do this, I'm looking at-- this is purple.

My thought is to use Ultramarine Blue and purple and White.

Let's see what happens on that.

Um, I don't know.

You may be pretty dark.

I'm going to hold this up.

No, that'll be all right, especially since it's blending in to the mudpack.

Boom!

There's a lot of sameness-- there's a lot of unity in coloring on this particular painting.

I always like that when you can use some of the colors in the lower half as well as the upper half of the canvas.

We'll push up here.

This looks like a little rising cloud.

And then I'll dip up, get a little more paint, and touch right in the corner so it's a little darker in the corner.

[soft scraping] Oh, this is so much fun!

It's just great to have you there.

I can't tell you enough how much I appreciate painting before an audience!

And, you know, put down your toys, your food, watch the show!

Always suggestions are helpful, whether it's for technique or subject.

It's fun to hear, "I wish you'd do this sometime."

That starts the sentence.

"I wish you'd do this sometime."

Okay now, when I go to the cloud inside, it has just a little bit of Phthalo Blue look to it.

So I add a little Phthalo Blue on this side.

It's surprising how grayish it is.

So you just got through saying how gray it is, and then you didn't make it grayish.

Let's try just a little red with the blue.

It just softens it slightly, not much, but enough.

[soft scraping] [soft scraping] Down there and down there.

See now that has such a good feeling at that stage, doesn't it?

It really has energy and strength.

Then the idea is to go on and add things that'll just enhance it a little bit.

I think I'll start down on the water, and as I do this I'm looking again, I think we used the same thing in acrylics.

We used the Viridian Green and White.

That's just a little light.

I want to hold this up and see what it looks like.

We may have to put just a touch of purple with it.

Yeah that's, oh, close.

But just to impress you, we'll use a little purple.

Very, very little.

Okay, clean the brush in the Walnut Oil, and when you clean the brush, I just dip it in, pull it out, and wipe it.

So you don't dirty all the Walnut Oil.

Take a nice paper towel.

I think I'm being sponsored by oil, paper towels!

Anyway, get a good one.

I'm not saying which one to use.

Just get a good one, soft.

Okay this is... Oh my goodness!

Well, you were more right when you first started, and that was with the Viridian Green and White without any purple in it.

So it's back to that same aspect of building to the lights.

So this will be building just a little bit more.

You can see that, and then we'll eventually put a little bit of orange on that.

Very dry brush approach.

Using a big fan brush, a little bit out there, there, and then we have this area that we put on before, which both is the top of that wave, and it becomes foam patterns for the trough of the wave.

See, I can see them just a little bit, the foam patterns there.

I wonder what would happen.

I don't see any reason to wipe those, but you could wipe them a little bit, and then maybe you'd use less paint and it will show up more.

I like sometimes just a little sparkle.

Some of the light just comes off and it drops in its right place.

I'll blend this one over a little bit, just add another one there.

Let's take the mop brush, mop blender.

Is that a signal or a scratch?

[chuckles] Anyway, here we go.

Let's leave that.

We won't put the lightest light on yet.

We'll go up to the sky.

We'll take some of that Viridian Green.

I'm going to see what I have with that.

Yes, that's exactly what we want.

[soft scraping] And let some of this go into the cliff.

Now we'll come lighter light, and first of all on the lighter light, I'm going to look at the reddish-orange aspect of it.

Red and orange and White.

This has a neat title-- "The Unveiling."

It's the unveiling of a new day.

Just a little lighter on the edge there.

A little bit down inside, and then after, I'll blend just a little bit more, and then we'll use the mop.

I call it mop.

I heard it called mop and blender both.

So it's a mop, mop blender.

And let's go with the lighter lights then that go in the cloud to the right.

I have, what color do you have?

I have Raw Sienna and White.

All right, Raw Sienna and White!

And I love just flattening the corner and kind of pushing up.

You get a little bit of control away from a straight line you might say.

And just a little tail up in there.

Okay, what happens, we get a little coming down in there, and a little bit over in here into the cliffs.

Okay, the mop brush, I think I'll wait a while for you.

We'll get the whole thing mopped before we say good-bye.

So let's go ahead with putting just a little light.

When I say that, I'm going to take some of the dark first, this is the blue.

I don't want to be very dark, but just a little of an edge there.

I was slightly missing that.

Now I can take some of the Raw Sienna and White and we'll go, this is about equal parts Raw Sienna and White.

What else do I need there?

Just a touch of red.

I think that'll be better.

It is, it is!

Enthusiasm from the audience-- and I have to be the audience enthusing myself!

Just a little there, coming down in here.

What I have still left on the brush some of the first color we did in our mudpack, and I want to have just a little bit above there.

You can see as you look at the original how nice that is to have that against the strong splash-up wave.

Okay I'm going to mop it a little bit, and when I say that, both in the sky and in the foam, and then we'll put the highlights on the foam.

You go both ways.

I'm going crossways, diagonally, vertically.

What else is there?

Horizontally, circular.

I guess not circular.

This goes just a little bit into the mountain, or the cliff, whichever you prefer to call them.

Now once I've done that, I look at the sky and think if I could go just a little bit darker-- this is the blue and purple-- just a little bit darker there, and the "there" is into the cloud not touching against the lights.

Just a little incidental cloud out there.

Oops, I liked it better before you do that, Buck.

Oh, okay.

Now down below, I don't think we-- maybe we put the mop blend on it.

Maybe not.

We'll do it again.

Okay, let's put just a little light.

This is the orange and a little red and white, just down at the bottom here so you get that nice echo.

Now, the lightest light, what color do we want?

Well, you know, it's surprising.

It has a little orange and white in it.

So that's a very light color.

I'll start out with maybe some Yellow Ochre and White, and then we'll add a little of the orange to it.

So I would say that's equal orange and Yellow Ochre and a lot of White.

Okay, this is the place that I want to put this on, and it's sort of a gentle touch.

As I come down inside, you kind of establish little shapes, you individualize them, I guess that's the word I'm thinking of, And over here.

A little bit in there.

You can see how the vitality of it-- without great quantities.

The biggest mistake I find is jumping up just to the white, think the more white I put on, the more dramatic it is!

And it really isn't so.

It's kind of the value building, and so you maintain a softness on the top.

Now I'm using some of the same color as a pathway, the welcome mat, foam patterns.

Isn't that pretty?

See, that gives you the direction of the sunlight.

Put a little bit over in here, down in there, just a little sparkles.

We have that.

I will blend that in just a few moments with the mop brush.

Okay, I want to take one small, little touch of light, and that's the same color we've been using, and do you see that?

Just out there.

Wipe the knife and then I'm going to flatten and kind of pull it up, and swizzle it around a little bit, so it isn't quite as sharp on the outside edge.

Now, that's more than I see there, but I don't dislike it.

So why are you going to change it?

Well, maybe because you think I should; I don't know.

So let's just bring this over just a little bit more so that light isn't quite as large, and someone will say I liked it better before you did that!

Well, maybe I did too.

Okay now, let's take the mop, and we'll put the mop on the lower highlights.

These, and I'll start by just tapping a little bit very gently.

Go back to this one.

You do that very gently.

Sometimes I'll let this dry, and then we'll come back and do it where it's-- you're blending it out on a dry foam, and it's a little more control.

But I do want to have just a little bit more.

I'm going to take the knife.

I want that path right down through there.

Hit it there too, See, that's right in the path.

So I'll just tap those a little bit, and then just the smallest, smallest edging on the lower foam right along here.

And the last thing, we still got a minute.

Not a minute, I mean little bit!

We'll take a little yellow and white and just go a little bit lighter right in here.

I don't know if you can see it.

I put it on the brush, then practically wiped it off the brush.

Okay, that's "The Unveiling," and I hope you've enjoyed it.

You take your time, and do a careful job.

We've shown you the techniques, but you do with your skill.

Bye-bye.

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