Counting the sands of the sea could take awhile.

Painting them will be much quicker!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Welcome to the beach!

My beach!

One block away!

I have primed a canvas with pink.

Red, Cadmium Red Light and White with just a little bit of Umber.

Then I have the tracing on it.

I've also put on a thin wash of Walnut Oil, which will help move along throughout the painting.

Now what I'm going to start with is, if I just outline all the things with a little bit of sand color, which is Burnt Umber and White, and I have just a flat brush, and this will make it so when I put the colors on the objects, I don't have to come back and be careful with the sand hitting them.

This will take a little while.

So if you want to just kind of drink a little juice before we get there.

The name of this little boy, he's my grandson, and his name is Colton!

Now, I want to show you; this is the pochade.

Oops!

I guess I could have left it there.

Pochade, and done with a lot of vitality, and then what I'm doing is showing you the middle stage, and then I'm going to show you how to get to the middle stage, and then we'll have to put the little pochade up and see what we can do to make it look like him.

Anyway, I want to tell you something about him.

He's the youngest grandchild.

Did I already say that?

And he's such a performer.

He loves to perform.

He'll dance, he'll sing, he'll play sports, and what's always kind of neat with him, in other words, he's always on stage.

He's got great parents too; our son is the father, And the thing is with Colton, we'll often say, you know, his other grandparents live real close by.

So we often have, not reunions, what is it called?

We get together anyway, and we'll have meals whether it's Father's Day or Christmas Eve, and we kind of put little Colton on the spot, he and the other grandpa.

And we'll say, "Colton, who's your favorite grandpa?"

And he's standing there, and I'm sitting on one side and John is the name of the other fella sitting there, and Colton would put up his hands and go cross.

Loves both of us!

He is a diplomat!

Okay, going around the fingers a little bit here.

This will be a great help when it's done with the outlining so we truly can relate the colors to the sand color.

If you have a faster way of doing this, my email is buckpaulson@cox.com, and it's surprising how much email I receive, and I really appreciate hearing from people, and I often ask them, send me some of your representations either of what I've taught or something you have done and you'd just like a comment made on it.

And let's go around the bucket.

Oh, thank goodness the bucket doesn't have a handle!

If I were at home and being right-handed, when I come along the left side, rather than do it this way, I would turn it upside-down so I'm always working away from the line, and that would be true on each of the areas, but it works all right.

We have a pretty good tracing there, so it sort of saves it.

Okay, I think I have enough done there.

What about over the hat?

Well, we're going to not have sand up there.

We're going to have ocean.

Let me go ahead, and I'll start in the ocean, and we'll come on down through the boy.

Okay, so this is Blue, Phthalo Blue added to the sand color, and you notice we have a nice slant.

I did that on purpose so that you would feel just a little movement more than just exact straight across.

We'll do a little bit of the same here.

I'll do this just to get the hat covered or down to the hat.

All right, I had intended just to come right down through the picture, so why don't you do that?

Okay, Ultramarine Blue.

Where are you?

Who are you?

You're Ultramarine Blue.

Put it on.

Oh, I love the purity of that color!

That's a brand-new baseball cap, and I know when I've played with teams, oh, it's so fun when you put on the brand-new uniform.

I was playing down in Florida, Fort Walton Beach Jets!

And the first time they had a professional baseball team in town and brand-new uniforms.

I think I was number 6!

Was that the same as Stan Musial?

I don't know.

I was a pitcher, so maybe it wasn't.

Okay now as I come down lower, I'll put just a little White in that.

It's just about the same as the color out there, but maybe just a little darker.

I guess it's pretty close to the same.

Yes, you're good!

Like that, and then if I have just a little light there.

There's usually an insignia there.

So I could put on, I know what I'll do!

I'm going to put on, no I'll wait till we get to the next stage, and you better come back, because I want you to see what I put on the cap for an insignia!

Okay, now let's come down to the, I'll jump down to his shirt, and what color of the shirt you say?

It looks like it's Burnt Umber.

I'll put just a little juice with it.

And what I notice, and I don't mind that, is when you use a brush, and you go to the next color, sometimes there's a little bit of it still in there, a little bit of the blue, and I like that.

This is not necessarily a new off-the-shelf shirt.

It's been worn once or twice.

Same color.

What color are you?

Burnt Umber.

Oh, you're right there.

Okay.

This-- oh, I like that little blue showing there!

Do you like that little blue showing there?

You could just wave the camera up and down.

That means yeah, doesn't it?

There... and here.

As I push this, I need to be a little conscious of pushing out slightly for two reasons.

One, to cover the line a little bit, and then if you push it out just a little further, it softens that edge.

It doesn't take much, just a little bit to soften that edge.

Colton, you're not going to be very happy with Grandpa if he don't give you some shorts pretty soon.

Okay, this is still Umber.

Very cautiously, carefully against the face.

Good.

You did it.

You did it.

We have some of the same color that's out in the ocean, which is right here.

Let's take, should I put anything else in that?

Maybe just a touch of Umber.

Touch of Umber, you're not seeing much of a change on that for your shorts.

Um...

It's so great to do this.

I'm kind of lost in thought thinking about this little guy.

I just love him, and he's a good little artist as well.

He's always writing poems for grandpa and saying things that are very sweet.

Let's see, do we have anything else like that?

No.

Okay, I will take just a little bit of the Umber and blue, which-- let me check that-- I need more Umber.

This will be the shadow of the person against the sand.

Like that... and in here.

I'll take a smaller brush, because I need to be just a little careful around the toes.

Colton, miss you!

Okay, there like that, and while I'm there, and we're doing the shadows and they're both wet, it'd be just as well to soften a little bit right now.

See, that isn't like the edges where we soften there.

We want to have a little gradation.

Boy, that brush works well.

Which brush is that?

Oh, this one.

Okay sorry.

These are essentially nontoxic paints, so Buck will be able to be back for the next show.

I put an s on it-- shows.

What happened there?

I don't see your thumb.

I don't remember if the thumb was showing or not.

For now, the thumb will show.

Let's put a little shadow under the bucket.

And I notice on that bucket there's some red.

Cadmium Red Light, now I'm going to just do a touch-up.

It's going to be a little too bright I think.

Not bad.

I'll put just a touch of Alizarin with it.

It didn't make any difference, Buck!

[imitates Ronald Reagan] Well, that's all right.

I remember Reagan.

"That's all right."

And down there, and then we'll put a little bit of shadow inside the bucket, and that shadow that we put inside the bucket will be Alizarin Crimson and just a little Umber, and what we will do at the same time is let some of this be in the cast shadow.

♪ It's an old bucket.

So if it goes over the rim a little bit, that's all right.

We do have a little underneath lip there, and as we were suggesting just a wee little bit there.

And I'm pushing up slightly so you feel almost like there's some sand that is next to the bucket.

You know, I didn't have, and I'll take a brush and do it quickly, I didn't have any sand down there, and then that.

You really need to be consistent with your shadows, both softness and specifically, particularly the direction of the shadow.

The light's up above about if you say about 11:00, coming down, so the shadow's almost straight down.

Okay, we'll go ahead and put on some flesh dark shadows, and what color is that?

It's right here.

This is, oh no, let's put some-- no let's do it!

Put on some of the shadow on the man.

Oh, I like that.

What color are you?

Umber and White with a little Alizarin Crimson.

Come down and touch against the sand.

I probably won't do it as carefully in this stage as it already is in the middle stage, but you get the idea.

Once you have it that way, then do soften that a little bit.

Okay, the shadow's coming up here.

Then you look at the front under the fingers, the inside of the hand.

And in his case, let's see.

Oh, that's the forefinger, the forefinger is light.

I was gonna say the little one, but this is the little one.

Just a touch on the end of the thumb.

Okay, going further with that color, we certainly want it to be on his face, and when I do this, because I have that drawing there-- and you get a line drawing with the DVDs-- then you can do it like this where you go over it thinly, and see, I can still see through enough to put some form into it.

Need to go across you just a little more.

I kind of lose your lips.

Come over with the same color.

We're going to come right in here, and then on the back hair, just a little more Umber into that color so it's just a shade darker.

Like that.

How long is your hair?

Okay, I'll take a little bit of Umber and just touch.

I can see where the eye goes right in there very softly, and on the other side of the nose is the other eye.

So it's a little right in there, then come down slightly, under the nose, along that cheek, on the chin, and then we'll put some in the ear.

What?

[in loud voce] Ear!

Ear!

Okay, I need to have a small brush, and there you are-- you a nice brush-- to have just a little light on that ear.

What color do I have?

You're Orange and White and Umber.

I think I'll use some of that.

See, it doesn't have to be much lighter at this stage.

I'll put just a little accent with Umber that will show the bottom of the nose.

Can you see if I stand like this?

No, you can't.

So, get out of the way, Buck!

Okay.

A little stronger in the eye.

A little bit over there.

What happened here?

You didn't finish filling that in, that's what happened.

Okay, so we still have a shadow to do on the leg, and we have shadows to do on that arm.

So this is the shadow, I believe.

Yes.

That's a nice warm shadow, the Umber and Alizarin and White.

This arm is just about totally in shadow.

I will make it such.

I love that priming of the canvas, particularly when you're putting on flesh.

It has a nice warmth to it.

You know what, Colton?

Grandpa has to do this, because the next stage when we come back, that thumb is down underneath.

That's a little awkward anyways.

So let's put that in.

Yeah, that's better, and there is a slight shadow between the fingers.

Just a little bit over here, not much.

Okay, let's see what we'll do now.

Let's put a little more shadow on the leg, on this leg.

A touch of Liquin, you're not Liquin, you're Walnut Oil.

What I find helps me paint is, while I'm doing it, I feel like I'm working on the actual object.

I could feel his leg.

I could feel the fullness of it and the softness of it.

So if you do that, if you visualize whether it's sand or cap or face, it really helps you.

What it does, you get the right touch.

Since flesh is so soft, you want to make it be that way.

We'll just wipe this a little bit, and as I was saying, if you visualize that you're touching on the actual surface, you're kind of a little responsive to the type of touch you have.

Okay, let's put on some lights.

This is flesh.

This is Raw Sienna and White with a little bit of Alizarin in it.

There, that looks pretty good.

We need to push him down just a little bit.

And what I would do when you have this on is to go ahead and zigzag and blend it.

Now I won't take the time to do it, but this could push out and get rid of that line there just a little bit.

Let's go ahead.

I'll use a little Walnut Oil, and we're putting on the large leg facing us there.

And as we come down, same idea.

Make sure that you take the time to soften the edge of the line.

I'm going to come up on the toes a little bit.

You can see I have shadow so that you're seeing some of the bottom of the toes.

Like this, and then if we have the smallest amount of dark to outline the toes just a little bit.

We have the kneecap to put on.

Now, I'm not going to have time to put all that sand in or the water, but it's just flat.

This goes all the way over in every case, and then when you come near the ocean, if you soften a little bit, it will give a nice edge.

I want to do one bit of-- let's see what are you?

You are Orange and Umber with a little bit of Alizarin.

Just a slight feeling of reflections in the shirt and under the neck and over on the side here.

Oh, this has been a great experience.

I love you, little Colton, and then you can ask, "Grandpa, who's your favorite grandson?"

And gee, I got 10, so I'll have to put all hands out both ways.

That was great, I hadn't planned on that, but that's perfect!

All right, I think that's about where we need to stop for now.

If you remember this-- that all the edges need to be softened, and you can see how helpful that is to have the priming.

We'll see you next week at the beach with Colton's favorite grandpa.

Bye-bye!

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