A day without a seascape on my easel is low tide!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ It's high tide!

The wave is up!

We're ready to go!

Look at the two projects.

The finished one, "Twilight Memories," the right one-- the one on the right, we don't say "the right one"-- you're right.

Okay.

So this has been done with acrylics, and now we're ready to go on with oil.

I'm going to start by dipping into the oil with my big bunny brush.

I'll put on, and not real even, because I want to take a paper towel which is clean and dry, and push it around.

What happens when I push it around is that it evens it out and removes a little bit of the excess because I want it moist without being runny.

Oh gee, I'd be good at cleaning windows!

♪ Dee do-do, dee do-do, dee-do-do-do ♪ What happened there, did you have a little color on you?

Yeah.

This is going to be then A Saturday night bath which means I'll take a little medium on the brush.

This time, not always, but I sure love the Alizarin Crimson.

You won't see much difference as I go into the dark.

Oh, I guess you see a little bit.

Oo, I love the golden tone that's up there.

If you come out more beautiful than that, so be it.

And I dipped in-- did I dip in with just a little more oil?

I guess so, because I want this quite thinly done.

Okay, now I'll go ahead and wipe slightly.

Wiping a little harder where the sun's going to be.

And I like that reddish tone there so I'm going to save some of it.

Every painting I do-- can I make it better?

Especially when we're making a copy of it.

What can I do that you will like better?

And me, I'm in the group too.

What do we do to make a Buck happy?

Okay, let's do the same thing we did last week, that is, starting in the sky, and come on down.

When I used to paint years ago on Public Television, I'd paint some up there, and then jump down here and over there and there, but it's a little easier to follow if I don't do that.

Now, my first thought is, I was going to put the lightest light in, but I've changed my mind.

I want to put little incidental lights on.

So we'll just enhance the clouds a little bit.

I'm taking Alizarin Crimson and White.

What kind of blue do we want?

We've got Turquoise, we've got Phthalo, And we've got Ultramarine.

Ultramarine!

I don't know why I selected you, but I did.

That leans a little bit towards the Alizarin being the force on that.

Oh, I like that very much.

Okay.

So let's take a fan brush.

The reason I want the fan brush is that I can sort of draw with the corner of it, so when I put this on, you're going to see little clouds happening.

Isn't that beautiful the way it touches against the Alizarin?

Around that just a little bit.

So you say, why did you start there?

Well, I don't know, I thought it'd be a little easier to build up towards the sun.

You could've put the sun in and then put these in, but I like this way.

There's not a good reason of why you should or shouldn't... that I know of.

And here, I'm coming against the edge of the cloud so when the lightest light hits against it, it won't be that sharp contrast of the dark cloud against the sun.

So the sun will work a little bit into this cloud area I'm putting on, then there's just a little one kicking up there.

And let's go back up here.

I hadn't intended to paint it this way, but I love that glaze that were working into which we are calling the Saturday night bath.

Now I'll come down, and I'll pick up a little more.

When I do this this time, I'm going just a little darker so it's the Blue and the Alizarin again with a little White.

Right in there, see, so this is darker than that.

It would be a nice foil against this splashing wave.

Okay, so we can either do dessert now or come back for dessert.

I'm going to come back for dessert.

I'm taking some of this lower cloud and just moving a little bit in there.

That breaks that sharp line.

Let's push a little bit in towards that as well.

And I'll just even make that a little bit more feathery.

Okay, I think that's enough for that.

What we'll do now, let's see, I'm looking at doing a little bit in the water, not much, the dark water, little bit on the rocks and then the foam.

So for the water, I want to take-- you know, Turquoise Blue, you're such a nice sounding color-- let's take some of you and Van Dyke Brown and White, and I'm just doing it with a fan brush.

And when I say that, I mix the colors with the fan brush and painting with it.

Oh, I like what's happening there, and what's happening there is just the small amount of White in the mixture-- see how it gets that little gleam?

Then that gives a little feeling of the glistening on the water.

We'll come down in the foreground the same way.

What we said last time, and I'm repeating, you want the direction of the water moving.

See how that moves in there?

We can go a little higher.

Then down here-- you don't see a lot-- but what I'm going to add, a little White to that just to have maybe these lower-- feelings of foam patterns.

That'll be good, it'll kind of be a nice foundation for that big wave coming in.

And then in the corner, a little bit more of it.

That protects that corner very nicely.

Okay, now the rock.

My thought there is, let's just go ahead and put on some highlights, so on the highlights I'm looking at-- you're Burnt Umber, and you are Quinacridone Rose.

And you are sort of white.

Needed just a little more Umber.

All right... now let's come up to this rock, and this has a nice feature of light there.

As you might note, I'm coming close to the line, but retaining the line, so the dark line becomes the edge of the rock, and it'll show up a little more against the wave coming in.

Kind of slanting, sort of patting, you're not brushing, or at least I'm not, I'm tapping it on-- tapping and pulling just a little bit.

We'll come over on here, and then when we put the foam on, it will envelop this rock quite a bit.

So we won't worry about that one.

Let's stop with that for a moment and come over to the next one.

It has just a little more of the reddish in it.

And when we put the foam against it, then it will show up more.

Over on the left one-- let's skip that one for the moment.

This is Red and Umber and White.

Let's come down to this one.

This will be a nice edge against the wave that's coming in.

Then with more Umber in the mixture, as I go lower, it won't be as bright.

Come right down to the bottom to get rid of that pink that was still showing there.

My assistant didn't take care of that.

My assistant is me!

Okay, on this rock, ah, I'll put just a little bit of that warmth on, not much, maybe a little in there.

You almost have it with what was left of the priming of the canvas.

Later, and please remind me, I need to put a little bit of red out on the edge Should I do it now?

Yeah, I better do it now so I don't forget.

Okay, this is Quinacridone Rose and White.

Oh, I love that gleam.

And it even comes down on these.

Over on the right side, those rocks, it's more Raw Sienna and White.

And just a little pinkish to go with the rest of the day.

Okay, now let's put on foam.

And for the foam, I am looking at-- what are you?

You are Ultramarine Blue.

Poor Phthalo, you haven't been used yet, let's bring you into the game, earn your letter.

And some Van Dyke Brown.

And I think I'll even put a little Rose with that Alizarin or Rose-- Rose-- you were there first.

And we'll hold that up, yeah, I think you're all right.

Maybe just a little extra Rose, just because the whole picture seems to have a little more of your color in it.

Okay, so I've cleaned the brush.

You don't need paper towels if you clean it on your hand.

That's a good thing, okay, here's the color.

And I'm doing this, you can say dry brush.

What I like about this, it's just a little bit lighter than what was there, so you're using what was there as part of the color scheme.

So you have essentially 2 grays-- this one and then the lighter gray.

We'll let this come over in here, a wave splashing up.

Now watch this-- that's dry acrylic-- so I can touch into that without any problem.

Let a little bit come there, a little bit off these rocks.

Boy, you are really doing a nice job, brush.

That really brings the water down off the rocks.

This one, the bottom of that front is pretty much disguised with the wave coming into it.

Okay, we'll use that same wave color as we come over here.

As we talked about last week, we have a little bit of the highlight, or the light gray, showing up above to get rid of the hardness when we put the highlight on there.

This is, oo, use the right side of this one.

Same way here-- I'm going to splash up a little bit a little bit behind where the lightest light will be.

Bring this down-- oo, that's a good-- I just love it when you get areas like this where it's a big powerful impact.

And this one certainly has some water coming off the rocks as well.

We mentioned this before, but in this case now, I'll take a little of this color and come between there so the lower rock is separated from the one right up above it.

Water coming off the rocks, water coming off the rocks.

Um... this one is not for sale; I like it.

And you know, it's surprising when you-- oh, I'm putting the same color over in here-- is that when you sell a painting, so often you think, oh, gee, I wish I still had that one.

But then it's going to a good home, and you're happy about it.

Notice when I put this on, and the same way up there, I don't come down all the way to the bottom.

So you're making use of that other value.

I like to call the initial value a number 3.

We're putting on a number 1, excuse me, we're putting on a number 2, and then we'll put a number 1 in that blends.

So the 1 and 3 don't touch each other-- you had that buffer in between, that number 2.

And it truly gives you the feeling of form.

I'll come down just a little bit.

We just said we don't bring the 2 down, but, you see, I still saved some of the number 3.

For you that have watched the show from the beginning of this series, you remember the "Jug and Oranges," how important that was-- the 1, 2, 3, the 1, 2, 3.

What's going to be kind of neat-- always on these DVDs we have a bonus feature, so we take just an extra step on each painting, which is very nice.

Okay now, this comes down in here.

You could even have just a little bit more of a sparkle on the top if you want to call that, a little bit of a sheen.

It really does help in the movement.

Okay now, let's mix up a color, which is going to be Yellow and White.

This is Cadmium Yellow and White.

You can see-- what is it?

Probably about 10 to 1.

It would be nice if I could say, we'll stay with that 10 to 1.

I think we will, but I'll hold it up just to get an idea.

It's so nice to have that model right there to check against.

Okay, we're back to the fan brush.

And when I put this on, I'm going to kind of pat it on right away.

See that dry spot that I saved?

So when this is put in there, it truly retains a lot of its vitality.

We'll come later, and there will be certain places where we'll have to go a little lighter.

I'll put some over in here.

I'm wiping the brush because I don't want it to be quite as light.

That one needs to come down a little further.

And there's a small wave here, just the top of it there.

Let's go over to the right, your left, let's go to the left.

I kind of changed my plans a little bit, and the change was, I want to put this on and then come back and blend it rather than blend as I go.

Why?

It lets it set up just a little bit.

And then I make sure that it's in the position I want it to be.

Little bit on the edge of that splash-up wave against the rock.

Down here...

It's surprising how on the lightest light-- you see it out there-- you don't have that great quantity there.

Where it does need to be, of course, is right in here, which is below the sun-- straight down.

I think I'll let that set just a minute and go ahead and put in the sun.

Then we'll see about the blending.

Okay, this is Yellow and White which we just put on, but now I have a knife, and I have quantity.

Boom!

And I have good luck.

The reason that this is working so well is because that was just thinly glazed.

It doesn't have a lot of thick paint.

I'm just softening that edge.

Then we'll tap this down.

Remember, I said last week that I added in an extra area there, the rock and the foam for interest from when I first did the painting.

Okay now, here is what I plan to do.

I'm going to take the bunny brush, blend a little bit, blend these a little bit, then come back with a knife where needed.

The bunny brush is so soft!

Blend that down so it's not quite as sharp in there.

Okay now, on the blending.

Let's come over here, and when I blend these, they are going to need a little extra light on them.

And this one, besides having a little extra light on it, is also going to have to have little dark lines coming into it.

Push up a little bit.

This one blends towards the rock slightly.

Oo, I like that-- you've got a little pink on your face.

Good for you!

Keep wiping the brush.

Okay, over in here.

And here, if I kind of pull it down, then you feel like on those darks that are there, they are in this wave, the big wave.

This one, take some of the dark off your face.

[Buck exhales deeply] Ah!

Is that 3 or 4?

Okay, here we go!

[laughs] Blend, blend, blend.

Blend.

Okay now, a little knife on the lightest spots in the wave.

[Buck hums] ♪ Love the ocean, ♪ Love the motion.

Okay, here's the stronger one.

And over to his left, and what we were talking about there, if we have just a little dark, if you put that on just a little bit, it shows the water running.

I remember on the farm 50 miles from here, running water was so neat when it finally came.

Okay, a little highlight in here.

Knock that down, so that's the edge.

That's a little strong, but be strong!

And where else?

A little in there, and even though it doesn't have it, just a little bit on the top of the wave.

What that does, it features more the dark that's there.

A little bit below.

Now this one, as much as I like you, you're a little generous.

You got to the cookie jar first!

[soft scraping] I'm going to make one small stroke.

And this is the edge of this rock.

See, he needs to stand out against the wave and the foam.

What's happening there?

Just blend that little bit.

And possibly just a little darker dark with Van Dyke Brown.

You don't see much difference.

Do you?

I don't.

Did you?

I don't.

Do you?

Okay.

This is "High Tide."

Almost.

Thank you for watching.

Be sure and thank PBS for the shows.

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