I saw a powerful waterfall.

You should've been there!

But since you weren't, I'll bring it to you!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ What we have today is stage one for our "Waterfall."

we'll do it in acrylics.

So what you see on the two canvases, you see one a blank canvas with a drawing on it and to the left you see the finished acrylic stage, but we'll put up eventually an oil finished painting.

So we'll work the oil on this one on the next stage.

So coming back, here let me just read what I have as far as the mixture.

You say it's black but it has 8 Payne's Gray, 3 Ultramarine Blue, and 1 Yellow Ochre so it isn't perfectly black.

Let me hold some Payne's Gray up to that so you just an idea, the difference.

So you can see there's quite a difference there, isn't there?

I like that kind of neutral, a little darker than middle tone black or gray.

So let's start, and we'll go right to the center of interest is the waterfall!

This is such a beautiful scene, I just love it!

It's got a lot of action in it, hasn't it?

So we'll take, this is-- oh, let's do it this way.

Let's take white with Raw Sienna so we get about the value we want then we'll have to gray it just a little bit.

I want to again hold this up so you can see what I'm talking about.

See, it's a little too light.

Therefore if we're not real light here then when we come over with oil we can put a little oil, the lighter light on and you get that nice balancey feeling.

So there we have the Raw Sienna and white and we'll take a little Thalo Blue and Payne's Gray just a little bit of it-- you walk over here and see what you look like.

Boy what an influence!

That's the kind of neighbor you want-- boy they'll, they'll really influence us.

We don't see them very much, and we're influenced by them.

Okay, let's hold this up.

It's still just a little bit; it'll be close enough.

Just so it's not as light as it will eventually be.

Alright, we'll use a fan brush, and I'll wet it a little bit.

We're using water as a spreading medium, and we'll come right at the top here and you can see when we do the top it just has a little bit of an arch, arch, arch.

So when the water is really tumbling over, you get that impression, rather then just straight across.

We have a nice curve here that comes down, and we'll just bring this here; as I'm doing this, I'm not filling it in total solidly.

It may become quite solid, but not to start with so we get just a little value change within.

Over in here, then what about over further to the left?

There's a little one coming down there a little bit, in here, and here.

Now, you can notice on this painting that there's some blue showing in there so let's take a little of that Thalo Blue, where are you Thalo Blue; you're right there.

Yes, you did it, you came.

So we'll put a little bit in here, we'll let a little bit come over there so it gives, gives a nice boundary to this waterfall.

Use the finger Buck?

Yes, I just wanted to hurry and put that in.

Then on the side you have just a little kind of blue in those slightly too.

I think that'll work, but I'll go a little further out to the left and right with this... ...like that.

On the color we used in the waterfall, if I take a little extra Raw Sienna and push in it you can see the difference of the two right together.

I'm going to place this on as the kind of see-through sky area.

It has a little warm tone to it, and then over on the far left-- these are subtle things-- I don't think you have to necessarily have to worry about how it looks.

But when I look at the original see, this one looks a little more grayish than that one.

I'll go back to the waterfall color, and we'll put this over the way we had it there.

And at this point, there's no character in those trees, we'll eventually place that on.

Okay, next I want to come to the bank.

Always a good project-- go to the bank!

Pure Burnt Umber.

The fan brush will work again.

I'll place this on, coming across just a little bit.

This will represent the rocks that are on the bank because you have some rocks and you have some foliage.

Like that, pick up some more we'll get some in this line here, I need more.

Okay, on the other side, we have some showing so we'll come and let's see, that starts about in here, yes, then there's a little peeking through over there.

It's kind of a simple palette, greens, and some browns and some light blueish color.

Okay, let's then go to, I think I'll go to the lower water.

This is the lower water, it's 4 Payne's Gray, 1 Thalo Blue into white.

And this I'll put on-- can you see what brush I'm using?

It's a flat brush, a flat sable brush and I'm making horizontal strokes.

And my aim here is to have them so they're kind of broken a little bit, and when I say "broken" rather than take it all the way across in one sweep, so it gives a little bit of the action of water moving.

I need to come closer to what will be a nice little branch sitting down there... ...like that.

Then one more, we'll take and put over on the far right, down in here.

And as I look back at the original, this water does continue down below.

Okay, let's see if we need to do anything else with that water, maybe a little lower there.

That looks good.

Okay, now let's go ahead with some of the greenery.

The greenery.

We'll wash the sable brush, we'll use a fan brush and on this, I have, This is Payne's Gray and Thalo Blue and Raw Sienna, equal parts and just a little white.

So I'll come up, and I'll look at this, and I'll say okay, this is where I want to be.

This is the first application of the green, and what I like to say to my students and they hear it all the time is say, "Build to the lights."

What that means is you go a little lighter, a little lighter, a little lighter.

So we're going to build to the lights.

Use a lot of just kind of tapping, dabbing a little bit with the brush.

This comes right down next to the waterfall top, so there's no space in between, then we go up in here.

Goes to the top, this goes to the top.

So you can see I'm leaving some blank spaces in between, which represent the dark.

Okay, we'll go over to the right.

Kind of scrubbing, but I'm well aware they represent a kind of fir tree, and we want to have just a little bit of edging on that aspect.

When you go over further to the right and down on the bank, these are just a little different.

Let's see, this one kind of just represents foliage without any special character on it.

As they go higher though, I'll put just some incidentals little ones like that.

You can see where it's on the bank, so we come right over to the waterfall... ...like that.

Now we'll go over to the other side.

We'll start at the top of the bank to begin with, right in here.

You can see that that's quite light but, but this is underneath it, this is an indication of building to the lights, coming down on the bank.

And this sneaks across not, well, I guess I don't know if it's moss, or I guess it must just be some foliage in there that's coming down on that brownish color.

Then, of course, there's some on this tree.

And I notice one thing that I put there as a help, let's use just a little bit, and I want to point to what I'm using right in here.

So we'll take some of that watercolor, I hope that's not too light.

It's a little light; I'll just use less of it.

So that will allow us to have an edge on here, a discernible edge.

Go up just a little higher there.

Okay, I think that's pretty good.

Some of this has texture on, but that's alright.

With foliage it's almost good to have a little texture in each stage.

Okay, let's go down to the branch that's in the water.

Now, as I was looking at this before we started painting I thought what we have is a branch that's sticking out there which is very nice.

These two are almost a little misleading.

It makes you think, have you painted over, is water going over the branch, then it shows again?

They're actually, a log sitting out there, so maybe we'll use one of them, we'll see.

But let's go with the color first.

We'll take, this is Cadmium Red Light with a little bit of Burnt Umber and water.

So I can draw this, I like using my middle fingernail from the small finger touching the canvas so I can draw a very accurate line.

I don't want it necessarily straight because the branches move, and you don't want them to feel like they're going to be stiff and snap.

But you can kind of regulate the size and be very consistent on that as you come.

Then as you get lower on a tree, or in this case a branch, it's wider, so it tapers from the bottom on up.

Okay, we'll go with this little branch sticking out from the side there... ...and this one as well.

I don't know what those are down here.

Well, let's put a little branch coming out there, but on those I'm not totally sure.

Then as I suggested over on the far side, where we do have a log in the water, I kind of like it, but I wanna make sure that it feels like a separate entity.

Let's go with some lights.

When I want the lights now, I want these down in the water.

They'll be right close to what we have just placed on to the log.

It gives us a path, it gives us a path to follow.

I noticed this too, and I'll point it out on the original.

See, you have light there, then you have some lighter lights down there.

So it's a very natural path.

Maybe I'm a little too light, I have a little blue in it.

Yeah, that's not quite as light.

Oh, I love doing these shows.

I'm so pleased to be doing it for you and like this painting, of course, I have the original, but I have not taught it yet.

So it's kind of exciting to see what happens as you attempt to do it in a pattern, in a sequence.

So when I first painted it, it wasn't the idea oh, I'll make a note of this or this and this.

That would probably make sense, but I don't do it that way.

Some artists will paint their pictures with the idea they're going to teach it.

Right away they have notes, and that's wonderful.

But I kind of like to put it on with energy and movement and feeling and then say what in the world have I done?

Okay, let's go down now to the lower right where we will just suggest some foliage, and we have several colors to put on there.

The first one we'll do will be the greens.

I wonder--this is kind of a scrubby brush, we'll use that.

Let's take Permanent Green Light.

You have almost a little color wheel down there, don't you?

You have some greens and you have some blues.

We have some kind of violets and a little bit of red.

So we'll start with the green.

The green is going to be sort of the edge of the area.

And I just, I dance it on.

Let's see, how can I explain that?

Rather than just going tap, tap, tap, it's kind of a dance, almost a little rhythm.

You're playing the drums-- ♪ do-do rum-dum-dum, do-do rum-rum-dum ♪ Like that.

Gee, follow the music, Buck!

You got a little wild on that one!

And a variety of sizes is always a good consideration too.

So some of these will have less, and some will have a little enlarged.

And I notice one color that I didn't mention, and that's sort of the in-between.

You could probably have done this first, but since I didn't, we'll do it now.

This is like the green we put up above there.

You don't see it much as its own entity, but you see through the greens and the blues and the roses, and that's what you're seeing when you see through.

This is going to be a neat one to color for you.

Just again, putting a little bit of the green on, which doesn't jump out.

It's a foundation for what we're building down there.

Okay we have light greens.

We could still put a few light greens over to the right.

Some of these.

Okay, like that.

Okay now let's take the next color.

Next color.

Let's try the Thalo Blue, I think you're Thalo Blue and white.

That works!

Come down a little bit, and this is always a nice color enhancement, when you have these analogous colors.

They're right close to between the blue and the green.

Studying the color wheel is very helpful.

And I use a color wheel.

I have a color wheel next to me when I paint.

So just kind of vary it a little bit.

But it's so surprising-- you got the color wheel, you start with the primaries.

And then you think well, gee, it doesn't give me everything I want!

And you look at some of these sheets where it shows about 25 different colors.

Oof!

We're so lucky to be able to have all those colors.

All right, what are you?

You're rose.

I'll take some rose and a little bit of the blue.

It's a kind of a tweener color.

Let's put a little more rose in it.

That's better, it's not quite as gray.

Look at what's happened here, which is kind of fun is, when I put it on on the side, I either have a little blue left on the brush or a little white, so you get some incidental secondary colors.

Okay, we're flying along here.

Okay now I want to go, what do you want to go?

Oh pure red!

Is that too bright?

Let's go a little less, let's go less.

Well, somewhere in between there is going to be just perfect.

There you are, perfect!

Nice to see you!

I want to do one other thing for sure too and that would be taking a small brush and we'll take-- this is the waterfall color.

I put just a touch of red or pink with it, red, so it makes it pink Let's come along this branch... so it has a little highlight.

I notice that this one is even more pinkish.

It's always helpful if you use a little water, then you can get what you want.

Now I start going up there, and I've decided to come back and get just a little bit brighter red.

And if you're going to have those logs in the water, you better put a little highlight on it as well.

Now let's see if there's anything else we should do.

You could put just a little pink, and that's just the red and white over-- it looks like a little bit of edging to the rock.

A little bit up here, then-- oh, I see something!

Oh, my goodness!

I think we got time.

This is red and umber.

And we're going to make this tree.

Ooo.

Oh shame, shame, Buck!

You almost missed that.

We've got a couple minutes, we can do it!

And there's one in here, and there's one in here, and a longer one over here.

See, if I can get out of the way!

Then there's a kind of a branch.

What do you mean kind of a branch?

This is a branch!

Oh... there it is.

Now this guy he's kind of coming down the river a little bit.

We better push him back slightly so it puts this green up there, and then let's take, this is yellow-- what are you?

You're Raw Sienna, and a little green and white.

So we get just a little bit of lighter light along here.

This sort of gives you a continuation of the top of the land going along with the waterfall.

So I feel very good where we are today, and we'll ask you to come back next week, and we'll make this absolutely gorgeous!

"The Waterfall!"

Thank you for watching.

I hope I didn't splash too much on you.

We'll see you next time, okay?

Bye-bye!

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