Some batters like the high pitch.

Some artists like the high goals.

Both of them are up to you.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I love using baseball terms as an analogy.

One I used a lot when I was teaching young boys in a Sunday School class was, if you're playing third base, and the ball comes to you, I'll say there's a runner on first and second, the ball comes to you, what do you do?

Run to third base.

It doesn't tell them what kind of ball comes to them.

It may be way up in front; they can't go to third base.

Anticipate-- if the ball is a shot, if the ball is a dribbler, each thing you need to react quickly and say, oh now what do I do with it?

Maybe that's the same in art-- now what do I do with it?

Okay, we know what we are going to do, we're going to make this ballplayer live.

We'll start, it's still wet, we kept this wet so we could work on it, and we're using some of last week's colors.

I have mixed up equal parts of Warm White, it's called Bleached Titanium and Titanium White, equal parts.

I want to put this on right in early to get the smash.

I'm pushing it on, and it's mixing in very nicely.

Then once I get some of that on, I can come back with the same thing and put just a little bit more on that I don't necessarily blend.

You see how that has an entity of its own, a life of its own.

Here's what's nice, whoops, that wasn't so nice.

I just pushed this over.

What's nice is, we'll put that same highlight on his arm, on his baseball shirt.

And I'm using the knife again, or as my friend would say, [with long a] "a-gain."

Coming down the shirt just a little bit, then the pants get a very strong amount of light too.

It really has a lot of energy that I like.

Of course, when I am doing this now, I'm aware of form, so I don't come all the way over with this light.

The light is coming from the right, and it would hit that, so make sure you are doing the obvious correct thing.

A little bit just going up on the shirt, just to get a little bit of folds on the shirt, and blend this.

Even though they're on different teams, we can put the same light on the sleeve here of this catcher.

Wham!

Now take some of that and put it down there, just a little bit.

This is most effective if you have strokes that are kind of spontaneous and not labored, not overblended.

Oo, you look great.

Okay.

Let's put a little blue.

This is my blue-red shade, Phthalo Blue red shade.

Let's put a little bit on his arm there.

And I'll put some that kind of suggests the outline of his shirt over there.

Need more, give me some more.

Got it.

Always thinking form.

You've got good form; you're a good batter.

Let's see, this light can blend over a little bit more because that is the shoulder, and we need to have a good strong feeling there.

And let's come down on the pants leg.

When we come down on the pants leg, I'll just again kind of put it in here.

It's not quite as dark as that.

Why?

Because I don't have as much paint, and I don't want it to be quite as dark.

This kind of just fades out, and you have a little bit of that over on the left side... left side to us.

What else?

Maybe blend this up just a little bit so the light is more just on the edge.

I do want to put just the smallest line, I have blue on the brush still, just a little line that would separate the shoulder from the background.

You are kind of expressionless.

The ballplayer is; we need to put a little face on there, but it's really nothing more than a smudge.

Let's see, we have Burnt Umber, I'm going to take Burnt Umber, and maybe just a little bit of the Azo Orange.

Oh, it's going to work.

We'll put this on, then we'll go just a little darker in the left side of it.

Umber!

Just a little darker there, then even almost just a little suggestion of an eye helps.

This is an ear hole, do we want, yes, just a little Umber in there too.

Okay, what about the bat?

That's what he's swinging, so I'm taking the Burnt Umber, and I'll go along the edge there.

Blend this over just a little bit.

Then we need to put a highlight on the bat.

I kind of feel, let's take, this is the Orange.

and Umber, equal parts.

Let's put that on, then we'll put a little highlight on it.

I sort of want this to be felt as a bat, but you want to make sure-- looks like I have rabbit tracks-- that's my little finger.

You want to have a little highlight on it, but you don't spend too much energy on that.

You want the interest down below here.

So I'll take a little bit of the Orange, and I'll add a little White to it.

Oo, that's pretty good, that should work.

And we'll put this down close to his hand.

See, you get the feeling that's a bat, maybe just a touch up there, but not much.

I didn't join them so it's not a hard line that you're following.

Okay, now I want to do what?

I want to come out to the ballplayer that's pitching.

We're taking Blue and White, kind of brush-mixing that.

Let me see if I can give you a formula.

Blue, 1 part, I'll put the White there.

That's about 2 to 1, but we'll see.

We use very little of the Blue.

It is awful, so it's probably about 8 to 1, 8 White, 1 Blue.

That's not going to work.

So let's come down here, we've got this mixture of White and Titanium...

Bleached White, and I have a little Blue on the brush.

Touch it in there, and it's perfect for this guy.

Come down the shoulder slightly.

And I'm always thinking form.

So that's why when I put this on, I stopped there.

So it's a little darker; not much over on that side.

We'll come down with the same idea, we'll come down the leg with the light.

And down.

And this one-- good strong light there.

I hope you can see that all right.

Okay, so we might give him a little bit of a shoe.

I notice there's some red around there, so let's do that first.

I'll take some Red, 1 part, Umber, the Burnt Umber, 1 part.

And we're just splashing this slightly.

I'll put a little more Umber in, so it's Umber, 2 parts.

Right across his shoe, just a little bit up, in-between, a little bit above him.

It really gives good action.

And without anything extra on the brush, let's just see what happens if I put a little bit-- oh perfect.

Did you see what I did?

I had that Umber and Red on the brush, and I just touched into that white mixture.

We'll keep this low.

In other words, keep his arm and everything separate.

Oo-oo, I see something we need to do.

What in the world is he going to swing at?

The ball!

Where's the ball?

Oh, the ball is right there.

Great, wouldn't that be something?

Sometimes they throw so fast, you think, did he throw the ball or not?

Throw the ball and the catcher would go.

[swack!]

Strike!

He didn't even throw the ball!

[chuckles] Anyway, that's my fantasy.

Okay, so I'm going to take and put a little bit of this light color, the two Whites... on the ball, And the fact that we kept the canvas wet during the week makes it so we can do this with a nice blend into it.

So that'll make the ball look larger; that would please the batter.

Wouldn't it?

Okay I'll take a little bit of the Umber is an outline there.

Not much, just a little bit.

And let's get a good spot on that lightest part.

These are the two whites, the two whites.

And there is the strongest light, right there.

Oo, gee...

I think I could hit that.

Gee, you sure would be worth a try.

Okay, down below, I'm going to take a little bit of my green, This is Permanent Green Light and a little bit of that orangey color.

And I notice when you look at the original, it goes right across, you really don't see the shoe.

Always conscious of the brushstroke up in the background, because we really want the feeling of movement.

This looks like the Cincinnati Reds are playing somebody.

And I take this without adding anything extra to the brush, I'm taking and just brushing off a little extra over on this side.

Let's just go, just touch his leg a little bit, so it's a little more disguised.

That was a good disguise, but he lost his shoe.

Take a little bit of Umber and put on that shoe back on.

Good, I think you need to be a little larger shoe.

That'll fit you.

Okay what'll do we do now?

I don't know.

Well, let's go up in the background.

I'm going to take some Payne's Gray.

This is Payne's Gray And see, it looks dark, and it is dark.

But then let's just blend it down a little bit, kind of a controlled blend-- you're not too aggressive.

What would help, when you put the dark in, that you kind of watch the quantity, that you don't get too much on, because mine is just right.

No surprise.

Right?

Just right so that I can blend it, keep the dark in the corner, then come down, and you're not losing what was there.

We'll go a little bit in this corner.

And I touch, touch the bat slightly because I don't want your eye to go off the canvas.

Okay, we've got time to do some other special things.

One will be, let's take some of the same light, 2 White, and we'll put it right against here.

I'm going to put this around several places then come back rather than blend each one individually.

When it's on, it gives us just a little help.

I'm going to take some yellow with that.

This is the same yellow we put on earlier or last week I guess it was.

So you really feel that the source of the light is up there a little bit.

I'll take some more.

This is White and White.

You know what that means-- White and White.

And Yellow, let's see how much Yellow.

It looks like 2 Bleached White, 2 regular White and 1 Yellow.

Then you know that the source of the light is up above him.

I'll put just a little bit of that down near his head.

I changed my mind; I'm going to put the 2 whites down near his head... so I don't get the yellow there.

Super.

Okay, I have a little bit behind him.

I'm going to put a little bit more behind him, then we'll blend a little bit with the brush.

Before I do that, I'm going to take my Red, this is the Naphthol Red.

I'm mixing White with it, let's see how much White.

It's probably easiest to do it into the White.

So that's 2 White and 1 Red.

I want to put this on his arm.

Love it!

Next one.

Same thing, it's the underarm.

I would be willing to put some of this on his helmet, just a little bit.

And also on the coach, we'll take some of that same deal and put down here; this is right near his chin.

Oo, that's pretty.

And on his baseball cap, a little bit.

So everything is responding to the light that's being in the background.

I'm going to blend that later, and I'll touch a little bit here, but for now let's mix just a little colors and kind of spot them around the background.

This is White, and this is White.

The Bleached, the Unbleached White.

A little bit of, let's take some of the red.

So that looks like it's about 4 White, 4 White and 1 Red.

The action is enhanced by all the color variations.

What I will do, and I sometimes do it maybe accidentally, But I really like it, I haven't done it yet, I'm just talking to you-- is to take, and when I blend, I have a fan brush, and when I blend, it'll mix in a little bit with what's there.

Now watch this, I'm going to go right across the legs.

This almost looks like a guy sliding into second base.

Get up!

If that's a little powerful, take some of the Umber.

Take some of the Umber!

Oh this is so great, I love being here.

You come each week; I don't know which week it's on in your city.

Be sure and come back, because we have a lot of new-- they are all new.

Having painted on PBS for 20 years, oh my gosh!

And to have a different shirt every time, and a different painting every time!

[laughs] I hope.

Okay, let's blend this, now that we've placed on, let's blend just a little bit.

I have no problem with each painting that you do like that, that it may be just a little different.

So it's just showing you the technique, and of course, you can get the video and the tips on the video.

What's happening there?

Your shoulder is being lost.

Maybe it should be red up there.

If it wants to be red, why are you trying to get rid of it?

I don't know.

I like it, I'm using the red.

Oh, you know what it is saying is, use some red over in the other place, this is Naphthol Red.

So I need to use some here on the sleeve.

Thank you.

You were telling me what to do, and I wasn't listening.

Cut in a little bit there, so what's above here looks a little bit like his nose.

So we have just a couple minutes, we still need to blend this slightly.

When I say that, I'm blending it down, but I'm not against brushing in a little bit on the shirt and pants.

So it softens them, and it really puts him in an ethereal position, And you know how athletes like cereal.

Cereal, cereal.

I must've eaten 20 bowls of Wheaties in one week.

I grew tired of them, but it was endorsed by athletes.

I want to be an athlete.

Okay, this takes care, I'll just cut that arm just a little bit.

Before we run out of here, we need to put just a little touch of light on to show the fingers in the glove.

And the little helmet-- what do you call it?

Facemask.

Okay, you guys play fair.

Good luck!

You're lucky to be able to play, win or lose.

But you are a winner if you watch PBS.

Bye-bye.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by... To order the complete 13-episode series 20 of "Painting with Paulson" on DVD including Bonus Features and Line Drawings, please visit or call...