 Funding for Painting Journeys is provided by Veritas. Financial Knowledge is Power. Be Empowered. God's beauty is all around us and my goal as an artist is to capture and interpret that beauty on canvas and to take you, the viewer, along with me on this painting journey. Hello and welcome to Painting Journeys. My name is Kitty Linclish and once again today we are going to take a journey. We're still traveling through the Pacific Northwest area near Washington State and Oregon right along in there. But first of all, let me tell you about our last show. If you remember, we were at Shai Shai Beach in Northern Washington State right along the coastline. That's very near to the Nia Bay Indian Reservation and as a young child my brother used to go there quite often. Anyway, here it is completed. We started it on our last episode and I finished it in my home studio. As you can see, I've done quite a bit of work on it. I wanted to make the sun have it shining on the water, reflecting on the water. I chose this area right in here to be my focal area. I thought how lovely, in thinking of my family and my brother, how lovely to put him there with our dog. So this person, the man right there, that's supposed to represent my brother and his dog as he's walking along on Shai Shai Beach in the great Northwest. So anyway, today we're still on the Washington, Oregon coastline Pacific Northwest and I just like saying that Pacific Northwest. Anyway, this is our scene that we're going to do today. As I mentioned to you before, in the last couple of episodes, I told you that it rains quite a bit of time in Washington State and in Oregon. And I decided to show you what that looks like when the clouds and the mist hang so low that they actually cover the tops of mountains that are not really that high. This is the Pacific Ocean coming in right now. It's not an inlet or anything like that. This is the Pacific and we're standing back a ways from it. We have some greenery down here in the front and this mountain here and the cliffs and rocks. Always these big, large rocks. They couldn't come in with a big ship in this area at all. And then there's always these little outcroppings of rock with trees and things. Anyway, it's truly God's country. I love it as you can tell by the way I talk about it. So without further ado, I just have my canvas toned today. I didn't do it under painting or sketch or anything. I just thought I would just start firing in, blocking in color and try a little different approach today. It's the same palette as usual. Oops, some of it slipped. Pretty much the same. I'm going to try a new color today and it's a phthalo green. It's a very bright green and so I'm really looking forward to trying that one, that color right here. In fact, I'm just going to do that for you with a little bit of white just to show you what's going to happen here. See how bright and beautiful that is? And I think I want to put a little bit of that in the ocean. I think it's really, really pretty. So it's a new color for me. I'll be experimenting with it. That's fun. It's always fun. So, okay. I'm going to mix up some of the sky first and I see this beautiful violet in here and the violet in this cloud here and there's violet in the water back here. And so I have a couple of violets on my palette that I'm going to be going to. One is magenta and the other is alizarin crimson that I'll be mixing with my blue. Let me see here. So I think I'm just going to shoot for the kind of violet back there first. This might seem very bright to you at first and that's what's nice about starting them here in the studio at the station because then I can always take them back to my home studio, adjust them a little bit and come up with the finished piece. You know, so that did not work. Okay. What I did is I made this gorgeous violet and I added a grade yellow and I got absolute mud brown. It'll be great for the rocks. There'll be a place we can use it. All right. Let's try that again. Okay. We'll go back to the violet and let's see. I think I'll gray it first with a different color of yellow. Yeah. Painting is always such an adventure as you're going along. There's always these sometimes, you know, it'll work just beautiful. And then other times just like, oh my gosh, what did I do? Whoa. Okay. This is looking kind of pretty. And we'll add a little white to it. You can always tell much better when you get the white in there what you're going to have. Yes. This is just exactly what I had in mind to go along behind that ridge of mountains there in the far background. And then we'll get blue as we go up into the sky. But this is what we're going to lay in first. Trusty brushes here. All right. Now I see that mountain, this line right here. I see that is coming like this and down and coming up right about in there. And then it comes like that. And then it's coming down and then it's going across. Okay. I'm just going to put that underneath now. I want that to shine through to come through the color that I'm going to put over it. It's very subtle. Now I'm going to be mixing up a blue and a blue kind of a blue violet. So I'm going to put a lot of blue into that violet I just made and make a blue violet for the cloudy sky, the atmosphere. Oh, this is pretty. I love it when all these pretty colors come together. They're so creamy and yummy. That's really pretty. Okay. Lighten it up a little bit. You notice how I always put a lot of white on my palette when I lay it out? That's because I use more white than any other paint. And so I always put tons of white out. Alrighty. I'll hold this up here. Does that look good? Yeah, it does. It's a nice mid-value. I'll be able to lighten that if I want. So now I'm going to come into this and just come down just enough. So just a little bit of that violet is going to show through there. Once again, I'm not really applying it in strokes. I do a sort of a scumbling as I'm blocking in. I'm trying to block in there. Now we've got that beautiful violet undertone that's kind of glowing. Now I'm going to go lighter as I go up into that cloudy. It's a little lighter, a little bluer. Alrighty. That's it. That's what I wanted. My strokes are going up and down now at this point. I'm still scumbling. I can't really call that a brush stroke, but they're going up and down now because that's what's creating a feeling that we're going down and over the mountain and behind it. And then when I put this green, this in here, and I push that up into the violet, you'll see how that's going to make it look like a foggy mist coming over the trees. This is an area that if I don't go to travel to this area at least once every two or three years in my heart, in my heart I can actually feel the ache for it. It's a longing, a yearning to go back there because this particular area of the world or the United States or whatever calls to me, it speaks to me. The beauty is so natural and it's so clean there, clean in the air and with everything that grows and all the greenery and everything is just so beautiful. Right now I'm going to take this. I'm just going to kind of feather this up a little bit, feather this out before it sets in too much. And my skies are going to be probably pretty much finished. I should put a little lighter cloud in here, show a little bit of a cloud on the top of a pink kind of a cloud coming right in here. And it seems to kind of come up here a little bit. Underneath is just a wee bit darker. Yeah, I hope you can see that. It's not anything that I want to be too significant. Now I have to make those strokes go in a downward motion again to kind of knock that down, make it look like it's going down and around behind. There we go, that's good. That's good enough. Now then we've got this, the green of this mountain ridge with the trees on it and this outcropping of rocks right there. And you know what that first color that I told you about that was so bad, so ugly? It's just perfect for this area right here. So this is what I'm going to put right in here. And we've got the rocks. It's going to be lightened up a little bit. It comes down here. Now we'll be building on that. That's just to lay in. Gosh, I guess I'm really in a teaching mode today. I'm explaining everything I do here, but that's okay. Sometimes that's a good thing. We want that to look like it's just kind of going right up in there. A couple of rocks right here. They're off in the distance. It's got to be very soft there where the one meets the other, comes up into the other. That's why I work in the a la prima style of wet into wet, wet paint into wet. That's what a la prima means. Or all at once wet into wet. And that way I can get those beautiful soft edges without blending. It's softening, not blending. Blenders are for in the kitchen. Painters soften. All right, now we need some dark, dark, rich greens. So I'll go to my sap. And I'm going to mix it a little bit with that dark violet color that I just used right in here. Maybe I'll put just a little tiny bit of the blue in that ultramarine blue, the dark blue, not the sky blue. Got to be quite dark. There we go. It doesn't seem to be gray enough. I'll have to add a little bit of this violet to it. Gray it down a little bit. Adding the background and adding the sky color actually into the green that I see up here. Yes, that's pretty good. Maybe we need a little more of the blue and the green. It's got to be nice and dark, but it has to be grayed. So we don't have the feeling that it's up close to this, that it's very far away with a little bit of the blue from the sky in the green. Then it adds the distance to show us that this is really quite far away from us. And I think I have a really good mixture now of the green. And that's going to go up into this and be softened up into there. Now what I can do, if I'm finding that by pushing the green in to the violet that it's not soft enough, I can always take my brush and with a downward stroke pull my sky down over the tops of this. This is going up here so that it doesn't just look like a, and then it gets a little darker down in here. There's a little darkness right in this area here. That's kind of brown right in there. Now wipe this off and see about softening this just a little bit more into the tops of this. And this all has to be done while it's wet, while it's nice and wet. Now I'm going to take the brush and I'm going to pull the sky over it so that we can see that the sky is actually coming down over the trees in the background. We want that to look so distant. I'm working really hard now to really concentrating on getting this to look just like I want because actually if I don't have this just the way that I feel it should be, I don't paint from my head, I paint from my heart and from my gut. I'm what is known as an emotional painter. Some painters paint, they're intellectual painters and they paint from their head. They rely on their knowledge to guide them. I paint from my heart and my gut. And there, I think that is what I wanted, how I wanted that to look. Now I'm going to come back in and I'm going to come with a darker blue and darken this up just a bit in here with my blue-green in here because down in here it naturally gets a little bit darker those trees do and you can see them there. We're going to have to pull that up a little bit so that we get that feeling that there's lots and lots of trees in there of which there are. There for a long time when I go home to Washington I call it home. I'm the type of person, I'm a gypsy at heart. Wherever I lay my head, that's home to me. I've traveled all over and because of that anywhere that I lay my head is home. And then I always, when I go back to a place I always say when I go home, I don't know why that is, but I guess I have no home. I just, everywhere is home. So anyway, here we go, there we go. Now we're going to come back in there and just for the sake of fun, we're just going to, because I see some light-colored trees way back here, so I'm going to take the darker blue, I'm not going to take white. I'm going to take the darker blue and just now we'll come across with the green a little bit and pat those in a little bit. There we go. So that adds a little something right in there. Okay. Now then, whoops, my towels slipped. You're on their towels. Sorry about that. I'm going to take this here. Make it just a little darker at the base. Make it have just a little more of a change in value. Then right in here is some nice, lighter-looking color that's far off. And I have a hunch that that is a rock in here that kind of has a little bit of a reddish cast right in there. And then there's another one right in here. There we go. And there's a lighter, little bit of light right up in here that's kind of pulling up into this area here. All right. And back in here. Okay, now we have right in here, we have some rocks and things in there. And then putting what is there. And then this right in here is a, this area right here, I see a beach. I'm going to put it in there. Just that contrast, that little grade orange beach color to just kind of pop that a little bit, not too much, going to try to be subtle with it. Okay, but right in here, I see a beach that seems to be coming around here. And it seems to be coming right around there. And it could be a little bit lighter on the bottom of it. There we go, okay. Come back in with that screen here. I don't think this is quite dark enough in here. Let's try a little bit of the blue in it. I want this to be a little darker for you so that you get the sense of the denseness of the forest. That's very important. There we go. All right, now we have our water. And our water is coming. And it has the same beautiful violet color that is in the sky. So now we have to get back to this violet brush and our violet paint. And we're going to paint the water back there. And it's coming in right about here. And it's coming across there. Down here, this is all very ragged looking. This is coming back in there. It's a little darker next to the land. It should be just a little bit darker because we do have the reflection even though it's a gray day, we do have the reflection of the mountain or the rock that's coming down. So we want to have that in there. And then this is coming right here. And then this is coming out. There's going to be another rock right there. So more violet on that water. What I love about this is that this painting is going to be... I mean, it just goes to show you what Washington State is like because in this painting, the other one was all in golds and oranges and reds. And now this is showing you the beautiful violets that we have. And the Indians, they fish this water. Well, not just the Indians. A lot of people do. My dad for a while was a fisherman along in these waters. It's a tough living. He's a tough, tough guy to make a living as a fisherman anywhere. It's like farming. It's just incredible that people that have the strength and the willpower to get out there every day and no matter what the weather, no matter what risk they have to take and they do, they do what they have to do. It's just, I'm so awed by people like that. This is getting a little bluer over here. And I'm getting ready to try a little bit of that. Nice pretty bright green that I showed you earlier. I want to put a little bit of that in the water. Of course, I'm going to gray it down some. But I want to put that in the water because it's like, oh, anywhere you see the water. The water isn't just one color. It changes. I mean, different areas of the water that you're looking at, whether it be a lake, a stream, the ocean, a river, whatever, the water in different areas has a different color to it. Now that's starting to look a little bit like candy. So we have to gray that down. You know what I mean by looking like cramp candy? What I'm saying is that it's too pastel, too pretty. It needs to be more gray. So we're going to gray it down a little bit more, perhaps darken it just a little bit more. And see if we can't get that a little truer to life. We're not making... Maybe I don't like this color. This is the first time I've used it. Maybe I don't like it. Or maybe I just don't know how to use it. Yet, maybe I haven't worked with it enough to know how to use it. I think I'm getting there. That's better. Alrighty. I'm really, really liking this. I'm going to go back to my violet. Now we have some rocks back there. And we better get those in. I want to clean up this edge. I see a very light little shoreline right in there. So I'm going to put that in there. And then soften it down just a wee bit. There. Okay. That's better. Yeah, now we can see. Now we can see that shoreline off in the distance there. That needs to be a little bit darker right there. Let me darken that up just a bit here for this shadow right in here. A little bit bluer. There we go. That's better. And then we have, down at the base of this rock right here, it's really quite dark. I'm going to get a clean brush and go back on that and darken that too. Because I'm kind of doing finish as I go here. I don't want to have to come back to that area because by the time I get back to this, it's going to be pretty well dried and set up. So I want that to be finished there. A little bit of light here. And then over in here, we have the water in. Okay, now we do have these two dark rocks that are sitting out here in the water. There's one right about here. A little one coming up here. And then a big one right here. And it has a little bit of a highlight on this side right here. This has a little light on that there. A little light on this one. And then it's dark on the bottom. Where it goes into the water. Right in here. And right over in here. Alrighty. Okay. And now then we have some more water. I want to put more water in before I go to what is here in the foreground. Oh, I should get that in though. That rock is back there. You know, just because I see it, I don't have to put it in. And I always have to remind myself of that. You know, just because you see it, Kitty, it doesn't have to, you don't have to paint everything. But this has got some kind of a spectacular, I know it's very small for you to see, but it has some kind of spectacular rocks that are very dark and that are sticking up in the front of this beach right here. And so if we put those on there, then that's going to make that beach go back. And then this right here is coming down like so. And out into the water, there's another little rock right in there. Now that'll have to be softened a little bit. All of this will have to be softened. You can get a little harder as you come closer. Your edges can be a little harder. And then now this here has that beautiful kind of reddish-brown look that we had in the back now that is on that. There's a little bit of that in there. So I'm just going to put that in there, bring it on down. And I'm going to take a clean brush and I'm going to knock this back and this too. I think that's a little too bold. We don't need it to be that hard. Now I'll come back in and I will reestablish it. And not such a bold stroke. There we go. There we go. That's what we want. See just a little bit. This is a soft painting. This is a soft. It's moist. It's green. It's lush. It's misty. This is mist. And everything about it, we don't want anything to be hard and strong. We don't even have to soften this up a bit more when I get home and to my home studio. And I think what I'm going to do here, I'm getting excited about this. That's why I'm talking faster. I always talk faster when I get excited. I'm going to take my knife and come up in here to make the edge of this rock. There we go. There. There. And to make this edge here come up. And then we have that feeling that it's really sitting in there. Now this is darker. You see this is darker here. Grayer, but darker. And this is a lighter value right here. So when we come across this, it's going to be quite a bit lighter. There we go. Now then, this part right here is going to be coming right down here and right along and in. You see here. It's going to come. I don't want it this part in the middle. Here in my picture, that's in the middle. I'm going to move this rock over here. And I'm going to have this coming at an angle so that this big beautiful wave I'm going to have right here is going to be more in that area there, more in this area right here. So that's why I'm moving it over because I don't want this or this rock to be a bull's eye. And so this is going to come up to here. That's going to be the light. Isn't this fun? I'm so glad you joined me today. This is such a fun painting to do. It's an opportunity to really teach you and show you what I do and how I think and everything. I just love it and I'm so glad you're with us today. Stay tuned. It's only going to get better. There we go. Now I'm going to take this, my knife, and I'm going to put that on there. I'm going to lighten it just a little tiny bit, maybe with just a little bit of the blue, because I want that to kind of be just a little grayer and show up a little better. And the knife is just too little for the job, kitty. He's just a baby. Okay, now we're going to get some of that, some of this stuff on. More yellow and the red. And then there's green stuff on there, too, growing. And then this right in here is going to be that, this big rock right here. And it's going to come down here like this, and then we're going to have the greenery coming right in here. Okay, it's kind of an interesting composition. We have movement going all different which way. Very interesting, I like it. Now this is getting just a little more green, more grayed green right in here, and it's coming up in, you know, the different way that you apply the brush stroke, you can, that is what gives you the texture and the movement of the surface that you're trying to replicate on your canvas or interpret onto your canvas. Okay, and then I will have some brighter red streaks in there, like so, make that kind of colorful in there. Okay, and I want to darken. I'm going to come back with a little gray, and I'm going to go in here, and I'm going to darken what is right behind, right here, because I want us to know that this is in front of this. So we're going to have to darken that a bit and make a nice bit of a, coming in from the reverse, making a nice bit of an edge for this mountain that's in the front here. Okay, now I can always lighten that later if I want to. Now I'll go back to the water, and there again it is seeming to be just a tad bluer, blue-gray. I just, my kindly cameraman Ron just gave me the signal that I'm down to 15 minutes, and so that means that I have to really punch it in order to get this canvas covered for you. This is the point where I usually get kind of messy, that we have a wave in here and another wave coming in there, and this is lighter, because I want to show you some of that white foam, how that's going to look. That wave is darker right in here, and it's darker. There we go. The ocean moves in all different directions. I see back in here that the light is hitting this and there's almost like a white glaze on top of that, and I have to go back there and catch it now, because it caught my eye, and it's the reflection of this white cloud down into the water, so I have to catch that. Now then, right over in here, we have all this foam that is coming up. Now if we catch some of the rock, and it drags down into our paint, that's okay, because that just looks like more rock into the water, and there's a lot of rock in that water, so that's all right. I'm just kind of putting a base down here for the... Let's put a little crest on this wave coming right here, coming into this here, and this is all very wild down in here, with the waves coming in. All right, now we're down to ten minutes, kids. You still with me? Hang in there. We're going to make it. It's always fun this race against the clock. There's a lot left to be done on this as you probably are thinking to yourself. You're probably thinking, oh my gosh, how's she going to pull this one out? But we'll do it, we'll do it. Okay, now then, what's coming down in here is darker water, which is coming down like this. All righty, and then we'll take some lighter water and put across it right now. Then this right here, we're going to take another brush, and we're going to scrub in a little more of this brown. A lot of work is going to have to be done on this, okay? But if you tune into the next show, the next episode, you will see this completed, and you will understand then everything I've been trying to tell you. We do have some greens dragging in here. Got that little bit of green in there, and that's so important, because this is all, there's stuff growing everywhere on this. And then we've got our rock, we're going to do him with a knife. He's going to be dark under here, and then he's going to, this is going to be dark, and then it's going to be a green, this is just kind of a mixture that we're putting down here, because there's going to be all kinds of branches and things. This is finish work, all these branches and the leaves and stuff. That's all finish work. We'll be taking care of that in the studio at home. Right now we just want to get the canvas covered. There. That looks like a pretty good rock to me. Okay. And then this is just a little bit of lighter stuff right in here. It's kind of going down behind that rock, right in there. I think I want a little bit of light on the top of that rock to kind of give him a little attitude. Yeah, attitude, that's a nice word. I like that word attitude. Okay, here's some attitude, buddy. You see that? It makes all the difference in the world. Now, with this green here and the brown, I'm just going to kind of like, just kind of smush this in a little bit here. And because I do want to get this canvas covered, so I'm going to take the big knife and we're going to go like crazy because we have five minutes left. Just got the word. That's just enough time. You watch me. That's just enough time to get this blocked in so that we look like we have accomplished something today. When you see it in the next episode, you'll remember what we were doing. This is a little brighter green up in there. So we'll take our green and we'll add a little yellow and we'll have some nice brighter green coming up into here. Oh, yeah. That's it, Kitty. You got it, girl. Go on to town. Okay. There's some little bright green over in here. It's going to be coming out. Got to make that, smooth that down a little bit, make it go down. And I think we'll have a little blue on the bottom. Let it be a little darker there so it shows that it's going downhill. It's going down. We're above. We are totally above this. Okay. Now I think what I'm going to do is just for the sake of it, we've got three minutes left. How far can I push this? Before the cameraman just shuts his camera off on me. Okay. You think he'd do that to me? All right. I'm going to take this and I'm going to wipe out a couple of twigs here real quick and a couple going over this way and something coming up this way. Okay. Okay. All right. Now I think that's pretty good. There's one more thing I want to do right in here and that is that I want to lighten this area right in here just a bit, a little touch of that. I want to make the rock have just a wee bit more attitude and he needs to be darker at the base because we lost it with all that green. Sit him down in there. He is down in there. Okay. All right. This is it for this show. Once again, I am really glad that you join me today and you've been watching Painting Journeys with Kitty Linclish. This is the Pacific Northwest on a cloudy, misty day and thank you so much for being with me. I will be looking for you next time. Bye-bye for now. Funding for Painting Journeys is provided by Veritas. Financial knowledge is power. Be empowered.