In baseball, full count indicates that the next pitch is vital.

In art, you can change the stroke.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Take me out to the ball game!

We're already there!

Box seats!

Now let me show you how we originate the work for this beautiful painting, "Full Count!"

I take some water and I'll flood it onto a white canvas.

Notice "white canvas?"

Oof, how often do we say those words?

Okay, now that's a little bit runny on purpose.

Then I'll take pure color.

This is acrylics, you realize that.

So we're going to put some Yellow on.

We'll put some Blue on... some Blue around there.

A little bit of Red.

Oh, it's excitement already!

Now what I will do to kind of push it around, I'll take a knife, because I want to knock down the texture just a little bit.

[soft scraping] You'll find what works best for you as far as quantity.

Oh, let it all go together.

There's no mistakes!

I think I made a mistake.

There's no mistakes!

I told you that.

Believe in me!

Now I'm going to take and add just a little extra water.

Oh, yes!

And then you quickly see what happens.

I'll try to hold that so you can see.

You let this move around.

Now for instance here, it's just a little heavy with the texture on the red.

So push that around.

This is in preparation for painting a baseball scene.

I've done this with sports figures of various kinds, even landscapes, so it doesn't have to be limited.

You set that to dry, but periodically check it, because your floor might be a little unlevel and it kind of runs a little bit, which is fine, but if you check it periodically then you can move it around.

All right, now we'll go ahead and do something that's been done that way.

"Full Count" has had that done to it, and we have the nice outline drawing.

On the left is a painting that I did a few years ago, and those are my hands.

Let me see, left hand...

I don't know if that's right.

Are you batting backhanded?

Cross-handed?

Shame on you!

Now we'll use a lot of palette knife, and where do I start?

Well, I'm going to start on the little figure, and we don't need to use too much accuracy on this.

You're Phthalo Blue.

What are you?

Ultramarine Blue?

Let's use some of the Phthalo Blue, and we'll come right up and I'm going to start right here on his arm.

This, you realize, this is all done at one time in acrylics, and then we put oil over it to refine it.

So while we're using that color, we'll go down to his stockings, and then I'll take some-- you're purple.

I'll use some purple and the blue just to make the shoes a little bit darker.

Some accuracy, some imagination, and some extend this.

You just wait and see what we get, because I have to wait and see what I get.

I haven't done this one before.

On the future show we'll show you one that I've already completed, and then we'll show you how to do it.

Shoes again.

Oh, I love baseball.

I think it's the game the gods play.

Oh!

All right, we can put some on the hat too.

Now I'm going to change just a little bit, and that's taking a brush, and I'll put a little bit on the hat.

You'll find that when we do some of the work, we want just a little bit of accuracy to go with the free play.

Oo, beautiful!

Good job!

And a belt.

You know, I had the opportunity years ago to pitch for this town where I'm filming, Fargo.

Fargo-Moorhead Twins!

You know what?

These days when they say that a pitcher-- well, let's put some paint on and we'll talk to you as we do it.

These days as they talk about a pitcher and they say he has so many saves, that means he comes in at the end of the game.

I have the Rose and Blue and White.

This will give me sort of a gray.

In other words, the fellow out there pitching is on the visiting team, because it's in the grays.

Anyway, they call a fella that comes in and pitches the last inning, if he saves the game for the other pitcher, he doesn't get credit for winning the game, but he gets credit for a save.

When I played, when I played, I got a lot of saves, but that meant they wanted to save the other pitchers for the next day, because our team was already losing, so I got a lot of saves!

Oo.

You'll notice on this I'm not really concerned yet about the underneath painting showing through or being right to a line.

Actually, the minute I say that, I do want to come out further with the blue.

Boy you got one sizable leg.

You are a winner!

Let's put just a little White, when I say White, it's not pure white.

It's got a little bit of a gray in it, just to show those stockings.

And look at that-- it just drips over a little bit.

It's got a little texture.

Great!

Just what I want!

This is very, very successful.

People love these paintings.

The mystic realism, because you get so much energy in them, and you'll find that as we go on, and of course, on day two, we use oil.

But you're going to have a lot of the acrylics be part of the color scheme, more so than probably some of the other ones we do where you have the acrylic first.

I need to come back with a little more blue.

That belt isn't quite dark enough.

That's better.

Oh, you have another leg!

Where's your other leg?

Oh it's right there.

Okay.

We'll take and put on some of the gray, And this comes down just a little bit, and on the back side of that leg.

What are you?

Oh you're Purple.

Okay, some Purple and the Blue, a little White.

That's going to give us just a little shading, shadow in there, and it will also work as a nice foil against the fingers.

What a great situation to be in, whether you're a pitcher or a batter.

One of our cameramen, oh my gosh, Kelly!

He done pitched his first pitch and hit a guy in the leg.

Shame!

But those things happen.

A little darker here.

Okay now I'll come with some Umber, and let's see, let's take a little Raw Sienna, and we'll put this right on the face.

And then I'll go a little darker.

What I've found very successful on painting these paintings is, you don't have to do it-- oops, I jumped up, went down, and came back.

You don't have to do a lot of perfect features.

But I'll put a little bit, let's see, you're Raw Sienna and you're Quinacridone Rose.

We'll put just a-- darn!

Excuse me!

I go down and then I think no, it needs more of this.

So I'll put this on.

This is just a little bit to show that as a start.

I'll take that same, let's see, this is Red.

What kind of red are you?

Oh, you're-- I don't know what color you are.

Let's put some White in, we'll find out.

That looks like-- it is!

It's Quinacridone Rose!

Thank you for coming.

So I want to have some of that with the Umber, and this will give me just a start on where the glove is.

I'll put it in sort of dark.

Then we'll come down just a little bit further.

And then let's take, while we're in the area, let's take some Raw Sienna and that Rose, and we'll come down just a little bit for the arm.

Okay now what else do I need to do?

Probably bring the hat down just a little bit on this side.

Comes down just a little more there.

I don't know what your design is on your hat, but that's probably the team's insignia.

There's a little blue that goes right at the neck there.

That's the, what do you call it?

Turtleneck?

Yes.

Okay now let's take some big strokes.

This is Yellow Ochre.

I'll put this on where the bat's going to be.

That, of course, would help if it's a little bit of a straight line, and the bat will show down between the hands a little bit.

And then as we suggested, this is very close to the pitcher's body, so this actually sticks out a little bit into his leg, and then slightly darker with the Burnt Umber.

And notice just kind of the brush strokes.

It isn't always-- here it is a little bit, a little bit of a blend, but it's really just stroke, stroke.

And you'll love this when we come with the highlight colors and put on.

We might be able to splash a little bit today.

Let's now go to the hands, and I think what I'll do on that, I have over on the side, this is the Rose and the Raw Sienna, and this will give me just a little bit of a, let's see, local color is what you call it, and then you add the lights and darks to it.

There's his arm!

Strong forearm!

Come up and do the thumb.

And then this finger, the thumb goes over it a little bit, and what are you?

Oh that's a 1, 2, 3, 4.

You're another finger!

That cuts a little bit in so that belt isn't quite seen all the way around.

Okay, I can put a little Umber and the Rose just for a little shading under the fingers there and on the edge here.

That doesn't show much until it comes down there.

Let's see.

What about here?

Nope.

Nope.

Nope.

Between the fingers, slight little bit.

Boy, this is the first time I've taught this style on television, and it's not going to be the last.

I really like it, and I hope you do too.

You can check my website for other ones, other models.

Okay I'm coming to the other hand, and I have again the Raw Sienna and the Rose.

It's a good local color, which means without lights or darks.

We have a little bit of a thumb going up there and here.

I'm sort of saving the interior lines.

You know, I can push up and get rid of, slightly, on the edge of the fingers, And see again, when I'm putting this on, some of the first splashy color is good enough for the color there.

So we don't have to force it.

Really as we say in most of our paintings that you want to make use of your priming of the canvas.

How would you ever teach this in a workshop with 20 people each doing there own?

I don't know.

Okay, now a knife.

We're going to do a little, first a little splash in the background.

This is White and I'm going to take Cad Yellow.

Now watch this.

This is so much fun.

You come up and you just, oh, make things happen.

[soft scraping] And as you do it, there's always that chance that you might hit across something like I hit the hat a little there.

So what?

[soft scraping] Now by doing this you really put the focus right there.

Of course, we're going to have some strong light on the bat.

We'll keep it down a little lower, close to his hands.

See now, it gets to be fun, but you just wait till we come with oil.

Talk about fun!

Okay, this is Yellow Ochre, and-- what are you?

You look like-- I want to make sure-- yeah, that's Alizarin Crimson.

That's what I want.

Yellow Ochre-- oops!

Man overboard!

I don't need you.

This is Yellow Ochre and Alizarin Crimson.

Makes a nice flesh color.

So I'll put some of this on right early in here, right by the knuckles.

By the knuckles.

A little bit up there, a little bit there, there.

I'll take just a slight bit of Raw Sienna and the Alizarin just to push that light back a little bit.

So the refinement will really come when we do the oils on top of this, which is next week.

Just establishing a little bit more where the knuckles are.

And the next hand below it... What are you?

Oh, you're the finger.

You're the finger, you're the thumb!

And more down on the next level.

It looks a little strange there.

This will receive some refinement when we do next week the oil stage.

[soft scraping] I'll take a brush, just a light touch.

This is a fan brush.

Slightly like that.

Boy, what a tense moment when it's being full count.

Bases probably are loaded, and everything rides on the next pitch.

That's a dramatic moment.

You know, I've watched a lot of sporting events on television too.

I'm going to go just a little darker there.

But it's so interesting-- you see two teams playing.

Obviously they have their own fans.

So the ones on this side are praying and the ones on this side are praying.

I mean, how can you make them both win?

Gee, that's not fair!

So just do the best you can.

This finger just shows a little bit there, a little bit there, a little bit.

There will be fingernails too that we'll kind of spot in.

Spot on.

This goes up just a little bit more.

So the first thing we'll do when we come to the oil, we'll do some glazing.

So some of this will be a little more quality, but we're not trying to match that.

We're making use of that to do our new style.

I'll blend this up just a little bit.

I want it lighter near the hands so my eye doesn't go shooting out of the picture.

Good.

Good strong.

Okay, now let's come with some light on the pitcher.

We'll come with this, this is, what are you?

You're White.

We'll take just a little Yellow Ochre and maybe a touch of Blue.

Okay, so he has a shoulder that has a lot of light on it right there, and he has right near his stomach.

And on these you ask well, where's the light coming from?

Even though we have it in the painting that this is going to be quite light, the light is coming from the left.

You look at the model over here.

See how the light hits on the hands, on the bat, and on the corresponding direction for the pants and that.

A little bit on his knee.

That's real little bit, more little bit.

Oh, over here, this knee, And I'm going to just sneak a little bit lighter light on the socks.

And what about you?

I guess you're all right.

Okay so let's take some green and white.

This will give just a little suggestion of a fence out there, and notice how it comes it hits just right through his glove.

Get off my fingers!

Then I need to have a little dark that's behind.

I used some green and that, just behind here, so the hand will stand out a little bit more, and same way through here, let's put some green there.

Now this, what he's standing on, represents what you call a mound.

So we'll take some Umber and put that out there with a little Yellow and White.

And I'll go lighter just on the edge of it.

I like the vitality that you can achieve with the little strokes.

We are about finished on stage one of "Full Count!"

I need to have just a little lighter light in the sky.

You know, when I first put that on, it just was powerful.

Then it lost a little bit as comparison.

Of course, you know, things like the hat, we'll just put some of the blue back on.

Oops!

More.

Yes!

Yes, we have a hat!

I think that'll do it.

We'll see you next time, and next time you don't want to miss, because we're doing color in oils.

We've got color today, but you wait till we go on.

So we'll see you then.

Thanks for watching!

Thanks for being at the game!

[piano plays] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...