>> THIS ONE HERE WAS AN EARLY ONE, BECAUSE I DID IT WITH INK DOTS FOR THE CAST SHADOWS AND THE HAIR AND EVERYTHING.

ONE DOT AT A TIME.

I BUILT UP THE SHADOWS AND ALL THAT WITH PUTTING THE DOTS CLOSER TO TOGETHER.

I LEARNED THAT IN THE PHILIPPINES.

AN ARTIST TAUGHT ME OVER THERE.

THAT'S THE WAY HE DID ARTWORK.

SO I DON'T KNOW HOW LONG IT TOOK ME TO DO THIS.

EVERYBODY CAN SAY HOW BAD THE SERVICE IS, BUT I MET A LOT OF NICE PEOPLE.

I MET A FILIPINO ARTIST AS I WAS WALKING THE BASE.

I SAW HIM AND I THOUGHT, WHAT TYPE OF WORK DO YOU DO?

HE SAID, I PAINT AND I DO ALL THE SIGNAGE FOR THE BASE.

IT WAS CLARK AIR FORCE BASE.

THAT'S WHERE IT WAS.

SO I SAID, I'M INTERESTED IN ART, BUT I HAVEN'T DONE ANYTHING.

I HAD NOT DONE ANYTHING EXCEPT FOR THIS ONE.

THAT WAS EARLY, WAY BACK WHEN I WAS PROBABLY IN HIGH SCHOOL I DID THIS.

THAT'S CHARCOAL.

THAT'S WHAT GOT ME STARTED.

THEN I GOT TO KNOW HIM AND HIS FAMILY AND WENT TO THEIR THATCHED-ROOF HOUSE.

WE HAD A TRIP TO ONE OF THE VILLAGES IN THE PHILIPPINES, SO I GOT A LITTLE BIT MORE KNOWLEDGE OF THE PEOPLE.

THIS WAS EARLY ON BEFORE I GOT INTO ANY COLOR REALLY WHEN I WORKED ON THESE.

GENERAL PATTON.

SOMETHING JUST POPS INTO MY HEAD.

WHEN IT DOES, I KNOW WHAT I'M I GO RIGHT STRAIGHT INTO DOING IT, MAYBE A PENCIL SKETCH.

IT DEVELOPS INTO A LITTLE GUY THAT'S GOING DOWN A HILL, BUT HAS A PROPELLER.

I DON'T KNOW WHY.

♪♪ THEN I INK ONE.

THEN I START ADDING THE INK TO AREAS.

I THINK, THAT ONE'S DONE.

LET'S SEE NOW.

I CAN DO ANOTHER ONE.

OR WHY DON'T I DO IT THIS WAY?

IT'S A WONDER I SLEEP AT NIGHT.

♪♪ >> I LIKE BUILDING TEXTURE.

THAT'S HOW I GOT INTO THIS USING SPACKLING.

I GOT THAT IN.

FROM THEN, WHEN YOU DO, YOU GET AREAS THAT ARE JUST ONE AFTER ANOTHER AND THERE'S NOTHING THERE, BUT YOU CAN BUILD IT UP SO YOU HAVE LIKE A BIG HIGH-RISE AREA, AND THEN IT GOES DOWN TO MAYBE INTO MORE SMALL ONES.

I HAVE ANOTHER ONE THAT'S GOT JUST PLAIN FLAT AND BLACK AND A MOON.

IT'S JUST A FLAT AREA, NO TEXTURE.

AFTER I DID THAT ONE, I THOUGHT MAYBE I COULD HAVE THE HIGH SPOTS LIKE THEY SHINE AND SHOW UP HERE.

BUT THEN THE TEXTURE, I LIFT IT UP WHEN I'M APPLYING IT.

IT'LL STAY PRETTY MUCH HOW I WANTED IT.

IT'S GOT LITTLE AREAS TOO.

SO THEN I GO BACK OVER THOSE LIKE I COULD HERE, BUT HAVING THAT HIGHLIGHT BRINGS IT ALL TOGETHER.

♪♪ >> WHEN I RETIRED 15 YEARS AGO OR SOMETHING LIKE THAT, I DID ARTWORK AND PAINTED THEM AND EVERYTHING LIKE THAT.

BUT THEN HERE IN THE LAST FEW YEARS, I GET AN IDEA IN MY HEAD, LIKE IN BED WHEN I'M ASLEEP.

I'LL THINK, OH, I'LL JOT IT DOWN.

THEN THE NEXT DAY I GO TO IT, AND SOMETIMES I BUILD TEXTURE, AND THAT'LL LEAD TO HOWEVER IT GOES.

OR OTHER TIMES I'LL DO CARTOONY TYPE STUFF.

AS YOU CAN SEE, THE AMOUNT OF CARTOONISH STUFF I'VE DONE THAT I KIND OF LIKE THAT ABOUT MORE THAN ANYTHING ELSE.

I JUST GET A BIG KICK OUT OF A LITTLE THING THAT MIGHT HAPPEN, AND I THINK, I DID IT AGAIN, ANOTHER GOOD ONE.

BUT I TOOK A LONG TIME TO GET TO THAT.

I MEAN, NOW IT'S A FEELING THAT I HAVE -- I DON'T KNOW WHY IT MAKES ME CRY.

THERE'S SOMETHING IN IT, I DON'T KNOW WHAT IT IS, AND I'VE NEVER THOUGHT ABOUT OTHER ARTISTS DOWN IN HISTORY ABOUT HOW THEY WERE, WHAT THEY THINK OF, BUT THERE'S SOMETHING -- I DON'T KNOW WHAT IT IS -- THAT KEEPS ME GOING IN THAT DIRECTION.

♪♪ EVERYTHING KIND OF JUST KEEPS YOU RIGHT ON THE EDGE THAT YOU WANT TO DO MORE, PAINT AGAIN.

I PAINT MORE NOW THAN I EVER DID BEFORE.

I USED TO WORK IN THE YARD.

I LOVED TO WORK IN THE YARD.

I KIND OF HATE WORKING IN THE YARD NOW BECAUSE IT TAKES UP ALL MY ART TIME.

[ LAUGHTER ] I CANNOT GIVE IT UP.

THAT MIGHT BE WHY I'M STILL ALIVE AT 90 YEARS OLD.

♪♪ ♪♪