To feel the spirit of Colton, you had to be there!

But I will take you there!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ Let's go to the beach.

I want to first point out the little pochade that we're working towards, and you can see a lot of vitality in that.

And I often find the challenge is to make the painting as good and vibrant as the pochade.

Now, here's were we are on stage 2, our second week, on "Beach Bum," and I think what would help, and I've already put Walnut Oil on the canvas.

What would help is if I put a bunch of shading in, shadows, more than we have there, and then we'll start adding little accents of lights here and there, which are very enjoyable.

So I'll dip into the Walnut Oil, and what do you have?

I have Umber and Blue and White.

I need to have a little more Umber, because I want it in the kind of grayish family.

Okay I'll dip into the Walnut Oil again.

Okay, let's come down here.

What I'll start with is, putting this on without blending it, and then I'll come back and blend, and what I am going to choose to do is, blend it a little bit with a paper towel.

If we put this up in the corner, you get the feeling of coming down together.

There's a little bit here too.

And I'm not concerned about the quantity right now.

There's quite a bit there.

So as I wipe, I'll decide where I have to wipe more firmly and other places just a gentle wipe.

You need to come against the hand.

Yes.

Extend this down just a little bit.

Okay, here comes the magic of the towel.

Here's one place where I'd wipe it more, because it just helps bring the interest into the middle.

Over on this side, same thing, and the paint here is dry, dried from last week so that's good.

So if I accidentally push right against the hand or any part of this, it's not going to mess it up.

A little bit here.

What I like about this spot is that when I put on light on his jeans, on his little pants, there'll be a little contrast with the shadow behind it.

Okay down below.

Down below?

Is that the down below here?

Here we are!

Down below, here we are!

Jeez!

Okay, pushing that on, and I'm using the same paper towel, just turn it around a little bit here and there.

What I chose to do there is quite nice, where I have the shadow there, and then as I wipe, I wiped a little bit towards the leg so you automatically get a pretty good blend there.

You know, my description of a desert, I just happened to think of it.

It has nothing to do with this painting.

Description of a desert is waking up and realizing you have no ball game that day.

Oh, that's horrible!

[laughs] Okay, here we're coming closer to the hand, we'll come down just a little bit towards the corner, and then as we go higher, we'll soften quite a bit because we want that shadow to lie down.

Okay, I think that'll be enough.

This one may be a little strong, just wipe a little bit more.

Okay, I'm going to do this.

I'm going to come with some lights, and when I say that, I'm talking about against the head, a different light down near the face and the back of the head, under the arm a little bit, under the arm, some down in the sand.

Just the vitality that comes from doing little, quick strokes will help a lot.

So let's see what we want for a brush.

I'll take a fan brush here, and I'll just brush-mix this.

I'll take a touch of yellow... like that.

Now, we have Walnut Oil on the canvas, which is a help, but I sort of wiped it so it's not real wet, which is good.

I'm doing this then, what you might say, dry brush.

I'll place these on where I want the water before I do any blending.

And then right at the shore-- oh, you are at the shore!

I don't have any on this side.

I wonder why not.

Well, let's not do it if it's not there, and then see if later we need to do it.

I don't have any in the pochade here, but I sort of like that little bit of a height that that gives, and I'll take the smallest amount of this, which means I'm wiping a bit off, and just go a little lighter in one part of the sky.

And see, you can do that when you're painting from a pochade you can say, okay that's fine, but let's enhance it a little bit, and here the enhancing is just suggesting a little light around a cloud there.

Okay, so now that I have these on, I'll blend them slightly away from the boy, from Colton.

Oops, don't need you!

Come back again another day!

Okay, so I want to wipe just a little bit, because I hit on his hat.

Isn't it nice when you got a ball team or brushes if something happens to one of the players, you have a worthy substitute?

Ah!

I like that analogy.

And that's sometimes how people get their big break.

They're not expecting to be the star, and then something happens to a person and they're thrust in the limelight, and they star.

Okay, did you notice what I just did there?

I blended a little bit those together so it's not quite as strong a dark between them.

Now, let's continue with that idea of lightening near the head, and now I'll come with-- this is Orange and White.

And I'm just wondering.

Here's Orange and White, kind of brush mix.

A little more White.

I was doing it towards the sand thinking that would work, but really what I'm doing when I mix it here, and it looks good here against the sand, that means when I get up here it will look good against the sand.

I can go lighter than that.

More White... this is so nice.

It goes right against the head, and what happens, it makes you feel like you can reach around behind.

That there's space behind the head.

Because we can't change this around, I'll be just a little careful as I put this on on this side.

This would be a place where I would turn it upside-down and come.

Now I have sand right up by the brim, so I'm going to keep that sand showing there, and that makes a nice contrast with the brim.

Blend this out, and the other aspect as I do this, you're getting just a little variety-- variations into the sand!

So some of this orange just mixes over there.

It's not quite as light as it is right next to the boy.

In fact, if I want to go even lighter, let's do it with just White.

Sure you know what you're doing, Buck?

Yup.

This is White, but it mixes in with the wet paint so it doesn't look too light.

Then you always have a nice feeling of his thought processes by having a little stronger light right near there.

See, I can't see his eyes, but I get the feeling that they're there.

All right, coming down a little bit onto the flesh.

I'm using again the Raw Sienna and White.

Did you say that before?

There's a little bit right up there, and then right down in here.

Now, when I put this down in here, I save the edge.

So this does not touch the edge.

If it touched the edge, the sand and this highlight would look too much the same.

So you want just a little feeling of form, the shadow.

Now I'll come on this side and soften a little bit... ...and go up there.

That one needs to have the light where it comes right down the edge of the thumb, like that.

Okay let's use some of that same light.

We'll get his kneecap, and it's basically Orange and White that I'm using.

Often, and I'm going to do it now, I'll place it on where I want it, where I desire it, and then we'll blend.

It has just a little moment to set up, and you're able to analyze a little bit.

This is such a nice curve right in there.

Oh, that's good.

Do I have any more?

Well, before I blend that, I'll go ahead with a little-- this is Raw Sienna and White, just a little lighter, and I want to have this-- let me just see if I got the right amount.

Let's go a little darker.

I run kind of fast; I'm sure it's hard to follow.

Just a little there, a little on the cheek, a little on the jaw.

So what I need to do now is to take and blend those just a little bit.

Now, this is on a dry surface, dry surface, dry surface.

Because of that, I'm going to use-- a fan finger?

A plain paper towel and a finger to blend it, and when you blend it, it actually removes a little bit.

Boy, it doesn't take much off.

You can see very little-- just enough.

And over here on the knee.

Always thinking gradation-- the roundness.

I stress this so much when I teach, the principle of 1, 2, 3, and 4.

The 1's the lightest, and you want to feel on each thing.

Now, this is a number 1, 2, and a 3.

So it doesn't have a 4.

This has a 4.

One thinned out a little bit, 2, what's there is a 3 and that's the 4.

This one, we already blended the top, so push on the bottom so you duplicate the shape, the outside edge of the curve.

The inside light needs to also be a curve.

Let's go up to the face just a little bit, and I'll take from the dark side and kind of wipe out so I don't go any further into the eye.

Then I'll go on the outside a little bit after I've done that.

Blend this up.

All right, let's go ahead and put some other lights on various places.

One, we'll take a kind of a orangey color maybe with just a little White on it, and I'll put this on the shoulder.

See, that shoulder now is rather dark.

You're very consistent with your light direction, and I'll put a little bit down here, not as much.

Oops.

When I say not as much, it came out just as much, but I'll come back with the blending as soon as I put some more over here.

So when I put this on, I really can be just a little casual on it, because the more I wipe, the more it will achieve the value that I want.

If I wipe less, it'll look brighter, wipe more, it won't.

I need to have a little reddish, what color are you?

You're Alizarin, I have a little Orange still on the brush, oh, that's a little strong.

Is it all right, Colton?

He would tell me, he would say, "Grandpa, you're a little strong."

Now I have a bit of light to put on one shoulder.

This is sand color, and it isn't because he was out in the sand.

We just need to have that light there.

And I wipe the brush, and just the smallest amount in there.

There's some character on the shirt that is being represented.

Okay, now I'll go ahead and wipe a little bit on the oranges that I've placed on.

This one I'm going to wipe quite a bit, because it's more, what you'd say, is a reflected light.

The light that hits there, and this is from the back side; reflected light.

A little bit here, again reflected light.

Here I push sort of hard.

I want to have the gleam, but that's a little strong, Colton.

That's better, and then on the shoulder that is here, we want that to stay quite strong.

And there's always that opportunity, and I'll take a little, this is a little White with it.

Not pure White, it's kind of sand color.

I don't see this on the pochade, but I know what vitality does wherever you place it.

Okay now, what's happening on this side?

We have the gleam, I need to soften that.

Let's go ahead with just a paper towel, soften that.

And I'm going to take just a little bit and give him a little bit of a neighbor.

Wipe that down a little bit, and same way here.

Wipe that down a little bit.

Okay, let's go back to the hat, and to start with I'll use Blue and White, just brush-mixing.

That makes it wet, and then we have enough sunlight to put just a little gleam there.

And what that helps is the fact that you're looking at a face without seeing it.

It just puts a little bit of a personality into it.

Now, you need to watch this carefully, because I want you to see it.

Good reason, right?

So on his hat, he has an insignia.

I don't know what that stands for, but I think you're on the right team.

It's either Boston, or it's Buck!

Okay, let's come down to his inner, well, let's put just a little bit on his jeans.

That's not jeans.

Shorts.

Shorts.

I have, you're Ultramarine Blue.

I'll put this on, and then you can see it sort of gives a top to the leg.

Like that.

Put this in here, and we'll push this down in, so you get just a little form in the leg, and then eventually we're going to put some highlights over on the left edge there.

Okay, so let's take this.

We'll push this around.

I don't remember a series where we did so much movement with the paper towels, but ever since I got the contract-- no, I don't have a contract with a paper company!

Do I?

I like a soft paper towel though, so that you don't leave it on the canvas as you leave the subject.

Okay let's take, as we said, on the Yellow and White just a little bit, and I'll point it out on the original pochade right on the edge there.

So this is where the light will be, and that can be right on the edge.

I like the curving down so you feel like you're following the leg.

Just need a little more curve there.

Right in here; I need this curve.

You got it!

You asked for it, you got it!

Makes me feel at home!

I'm taking just a small bit of sand color and coming against the shirt right there, because there was still some pink showing through.

You want the pink to be part of it, but not such a big part.

Let's take and wipe a little bit under the arm.

Now, what that's doing, it's softening the shadows slightly, and then I do want to come in there with a little bit of our light, our Yellow and White.

Then you truly get the idea that you're looking through, which is very helpful.

Okay, we better put just a little, I don't see it on the pochade, but I'm taking Raw Sienna and White, maybe a touch of Orange just slightly on the fingers.

And we'll come up the arm a little bit, kind of the reflected light.

Okay, now I need to go a little bit on the bucket, and I'm going to take Alizarin Crimson, and this will show where it's coming from.

This is the handle... and I'll put some of the Alizarin on.

I don't know why it does that.

It looks good though.

Am I supposed to signal you back?

Okay, that's like that.

Just blend this out a little bit.

Comes down into the sand slightly.

Let's go just a little darker in the sand.

Umber, and well, there's a little Blue in there.

Oh, that's not dark enough-- more Blue.

I'll go just a little darker under there so there's a little depth in the shadow and same thing over on the leg.

This is Umber and Ultramarine Blue.

See, just a little darker.

Same thing with lights, you do light to dark.

Well, this is a case where you start with the darks and then go darker in the dark.

♪ Darker in the dark!

That aught to be the name of a movie!

"Darker in the Dark" starring Colton and Buck.

Boy, I've sure enjoyed doing this.

I think we've captured little Colton at his best.

If I do just a light blending... Can you see the difference just when you blend?

Okay, we've done it again.

We hope to see you next time!

Thank you for watching "Painting With-- I look at a nametag-- "Paulson!!!"

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