If that is really Goliath I know his weakness... a fastball to the forehead!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I have a shirt on my chest which has the Cleveland Indian logo.

Now when I pitched for the Fargo-Moorhead Twins, they had a working agreement with the Cleveland Indians.

So I was a great fan of Bob Feller and some of those players.

Now it's the Fargo-Moorhead RedHawks.

But I want to tell you something.

I bought this shirt at a yard sale, garage sale, and about 5 months later I put it on and was back at the garage looking for more bargains, and this little girl about 9 years old came up to me and said, "Is your name Kitman-Hoyte?"

"Kitman-Hoyte?"

And I said "No."

Now, I had researched.

I had looked to see what position he played with the Cleveland Indians and so on.

I couldn't find any.

So she says, "Well, my brother's name is Kitman Hoyte, and he used to have that shirt."

"How old was he?"

"Twelve."

And it fit me perfectly!

That's a big 12 year old!

Kitman Hoyte, my hat's off to you!

So now I'm a Red Sox player, and hope you are too!

Let's go ahead and paint this painting, "Goliath," and you can see I've already primed it, and it's dry with the acrylics.

And you say, well, is this the way you started this?

Yes, but the way I flow the acrylics around, there's no guarantee that everything's going to line up just the same, and I want you to realize that.

What I also did, and I won't do it, but it gives you a little idea when I have a covering like that, and I look, see, I thought gee, that's almost a baseball player with a face there.

This almost looks like a manager with a hat and a face there.

We won't do that, but it's the discovery of things within the acrylic flow that I think is so exciting.

Okay we'll start by coming to Goliath, and we'll use some brushes to begin with, and we'll be using a knife before the show is over.

I'm taking red.

You're Alizarin Crimson.

Let's take some Alizarin Crimson and put this right back here.

Before we do the oils, which will be the second stage, this is the acrylic stage, we'll probably put a glaze of kind of a Saturday Night bath on.

Okay that gives me just a little bit of dark to work with.

Then we'll come with Cadmium Red Light, and we'll put this right on the front so you get values correctly placed on the picture.

Now he has a little protection on the ear.

So let's see what we have here.

We'll take some Red and Alizarin, and this comes down right like that.

So he'd have that on both sides in case somebody's aiming for his head.

Let's go ahead with staying in that area.

We'll put a little Umber and a little Yellow Ochre.

Not much... to put some shading on the face.

Oh, this is so much fun.

I love doing this, and you be fearless as you go ahead and do this.

You can't make mistakes.

The only mistake you can make is not trying.

That's not quite dark enough so I'll pick up a little Ultramarine Blue and just work into that slightly.

Just a little bit darker.

Okay, staying on our man... Why don't we hit the bat on the way?

We'll put some Yellow Ochre on.

Just a little bit from the corner coming down.

That's a pretty big bat.

If that guy hits a ball with that, it's gonna go a long ways.

He'll be playing for the Indians, not the RedHawks!

Okay, while I still am using Red, we'll go ahead and put some of this, and I have again the Alizarin and a little Red, and we'll put this on.

He has a batting glove.

It's so much fun, because when you watch these players now they snap it and put it, and snap it and put it back.

Kind of a little nervous thing, but you got everybody in the town doing it.

Oh, you know what I've thought.

You learn from the major leaguers, and I've watched little league games.

You know what they've learned from the major leaguers?

Ptui!

They're spitting all the time, because that's what the major leaguers do!

Ptui!

And I thought oh gosh, some of them are pretty clever spitters.

They learn other things too.

That's why it's so important if you are a professional athlete, you watch your actions and what you do, because you are emulated, you're copied.

Okay on this one, I'll put that on first, and then a little just straight Red Light.

And see you always ask which way is the light coming from?

Well, you got the powerful light there.

You say yes, that's where it's coming from, but at the same time, you have the light hitting the shoulder and chest and hitting the shoulder and the pants of the catcher and a little bit on the umpire.

So it has several sources, and you can get away with that with fantasy.

I'll put a little bit of the Red Light just down here.

Where are you?

Right there, there, and then up here, and, of course, there will be Alizarin on our belt.

And I'll eventually have a little red through there and just a smallest amount of a stocking, red leg.

He probably plays for Cincinnati.

Cincinnati Reds!

I have a great friend.

She is a baseball fanatic and her husband loves opera.

At home, my wife's the opera fanatic, and I'm the baseball nut.

So there you go.

Okay, this is Ultramarine Blue and White.

Right in there... over here.

So this represents the shading on the uniform.

The arm.

This sort of goes almost off canvas right there.

So that's nice, and down under the arm.

For now I'm using just the Ultramarine Blue and White with the thought that I'll have to darken it here and there.

Now this is our model, and we're making it as close to that as we can, whereas the previous one when we worked on the baseball, we didn't have any finished splashy mystic realism.

So we added it, and it looked great!

You know, I love you people reacting to what I do and what I say.

You know, I'm not without faults-- I don't mean that.

I mean, some things people say and you think oh gosh, that's a great idea.

I can do that better.

That's what I liked about my teacher.

He felt that he could learn from everybody, and he did.

There was once a 9-year-old boy that he was talking to, and he came later, Claude did, and said, "You know, I was talking to so and so, and he was saying this, and gosh, that really makes sense to me."

What's happening here?

We need a little more shirt coming down a little lower and in here.

I think we're just a little wide on the back.

So I'll cut that in slightly with some background stuff there.

We don't want a humpback on that guy.

Okay, now let's continue with the light, and this on his abdomen.

See, I was a physical education major and we had to learn all those terms.

Ad, ad, ad... What is it?

Stomach!

And then here we put this on the front.

Now what I've chosen to do, and I'll use some Blue and White and I still have the knife is-- see, I don't have that light come down all the way.

So my focus will kind of be in the power of the legs and the upper body.

I have to have a little more shading under this arm, so the arm isn't quite as wide.

Goliath, you're going to be a champ!

Oo!

I hope you can hit the ball far.

Let's see, maybe just a little more Red Light, again with the knife.

Right in there, and then I'll take a little Yellow Ochre and White, sort of a building aspect and put the light there.

You know, when I'm doing this, I have my fingernail on the canvas, so I try to get a little more straight, straight line, but nevertheless, be aware that in this style, you can have liberty.

And a little bit up there.

That's a great spot to have some light too.

We'll see what happens as we go on, but that's how it is now.

Okay we'll come down.

I better put, I guess the pitcher's name is David.

Are you David?

Here's a little Ultramarine Blue.

Let's just place this on.

You didn't know where the pitcher was-- there it is.

There he is, and if it's Little League you could almost say there she is!

Oh, get some girls throwing that ball, and they're great.

Okay, now we'll come over on the catcher, and I have some Purple and Burnt Umber.

Mixing those together, it looks like it's about equal parts.

I love that drama of the dark against the light.

And it kind of helps when you have a drawing on there.

Like I say, on many of these, when I first start, I'll just put a little chalk on to represent where I'm going to put the figure.

So it's nice to once arrive at what you want and then put them in pretty good.

Sort of Umberish, little Red.

That's his glove out here.

And I don't know what signal he gave this catcher.

What do I want the pitcher to throw?

Oh, that's always a question.

It's a little bit of a guessing game.

You know I listen to a lot of announcers, and they will say, well, he threw a curveball last time, I would expect this time he's going to throw a slider, and darn if they don't guess right.

So obviously the batter must be up there saying, well, he threw me a curve last time.

What's he going to throw me this time?

So there's a little bit of guessing and sometimes they swing horribly, so you know they guessed wrong.

This is White, and Blue and White, And I've left so I can go a little lighter on the knee.

So this is Yellow Ochre and White.

I would imagine eventually what I'll do is kind of watch so that I don't have all those outlines left, but I won't take time to do it now.

I don't know how much time we'll have at the end of this show, but I sort of need to look at that.

Oh, let's see.

Who are you?

Oh, you came out in abundance.

You jumped off the team bus early.

This is Phthalo Blue and White, And a little bit of the Phthalo Blue darker and we'll come down at the back of the shirt there.

And there's a little bit of that same Phthalo Blue and White that kind of on the back of this, and then I'll go a little stronger with Purple.

Just get a little strength for a facemask.

He needs to have the facemask.

Boy, some of those guys get hit with the batted balls, which is you know just a foul ball, and it tips and hits them right in the mask.

It's got to be a little jarring.

I'm glad they changed the rules so you can't use the catcher as a doormat anymore.

You can't run through him.

Of course, the catcher has a responsibility to be in his position too.

A little bit of highlight right on the back.

This is Yellow and White.

Okay, so we'll put in the umpire, and then we'll start seeing what we do about the background.

The umpire is very much like the catcher in his coloring.

So he has dark.

I'm using Burnt Umber and Purple, Dioxazine Purple, equal parts.

They'll look a little bit like cutouts until we get some of the splashy color coming across.

I'm sure glad you're watching today.

I love doing these shows!

It gives me a chance to just be creative and to experiment a little bit, because a lot of the things that we're doing, I hadn't planned to do.

So your influence, knowing that you're there, helps me to be unafraid and do the best you can.

This is more purple right in there and of course that, as you look at the model, there's some good lights in there that will soften that edge slightly.

I'll take a little bit of the Phthalo Blue and White with the knife and start coming across here.

Let's go ahead and put a little bit across his face.

I jumped down, I had Phthalo Blue and White, and I came over and touched his buddy, the Ultramarine Blue.

See, when you do the knife, you can do it gently, or you can do it firmly, or you can do a little of each, and that's really what I like doing-- a little of each.

Okay, we probably better darken, and this is with Umber and the Purple, equal hearts.

Equal "hearts?"

Equal amounts.

I need to protect this corner.

There's a light there I need to go across.

Okay, I think that gives us a pretty good start.

So we'll go ahead and use some palette knife in acrylics, and then next time we're going to do oils, which will be great.

So let's take first I'll put out a little more White.

Why you didn't want me?

Well, we'll save you.

So this is Cadmium Yellow and White, and it looks like I have 4 White and 1 Cad Yellow.

This will be impact, and I'm sorry, we can't use you this trip.

The use of the knife is quite nice as a beginning base, and then you can refine it a little bit with the oils.

I see where, as I go higher near his face, Goliath's face, I'm going to take a little red, and I'm doing this with the brush, dipping in and getting a little bit of the yellow.

You're kind of emphasizing his eye there.

I was going to say you're emphasizing his forehead, but I didn't say that.

When you're doing this, if you use a small brush maybe to come against things, and then once you have that achieved, then you can take and use a knife here, so you're not worrying about hitting the guy.

However, there's times, as we've said before, that we're going to let this come across.

Right now I'm taking the yellow and white-- if you look on the edge of his hat, there's a little light there, and it comes down here.

Not quite that low.

Just push it, push it, push it.

And I'm going to push this up just a little bit more.

Thought I was; need some more.

This, if it's too much, which it is, then I can glaze that down with the oil paint, But I'll get a good strong bat to start with, Goliath.

You picked the right bat.

That must be about a 38-inch charmer.

Okay, on the upper right, I'm going to take a fan brush, and I'll dip into the water, and this is the Umber and the purple.

Just to really protect that corner.

The darkness there is almost a foreboding look.

You think what's going to happen?

[soft scraping] Something's going to happen.

Let's go stronger with this.

[soft scraping] I like that reddish color around there.

That was from the flowing acrylic.

Let's come down below, and we'll come from up a little bit and then behind Goliath-- what do I have?

I mix some Blue with the Purple.

Then we can truly state what's the size of his leg there.

Oh, this is too light there.

But there is a small amount of light.

Now, I'll take some of this yellow with a little red on it.

There's just a little indication so that you can see where his back is.

Okay going on, let's see what we should do.

Well, I'm going to put a little bit of Permanent Green Light and just a little bit of the Yellow and White with it, and this is, you can see, right in front of him, right in here.

[soft scraping] We'll take some Alizarin... and we'll come over here.

[soft scraping] And this spot needs to go, so we'll take a little bit of White, and oh, Quinacridone Rose, you've been sitting there so patiently.

You almost froze to death!

Right like that.

[soft scraping] And I like the way that Blue, this is again the Turquoise Blue and White, I like the way this sort of sits on the umpire's shoulder, and it's actually, you know, it starts out behind him and comes across.

[soft scraping] And I need to have some light, this is Yellow and White, right in between those two.

I wonder what they're thinking.

You don't know?

You're making them and you don't know what they're thinking?

No, I don't know what they're thinking.

Okay, now, we don't have a lot of time left.

We'll put a little of the Yellow and Green down against the glove there.

[soft scraping] A little bit lower.

Oh, now Goliath, you need-- not Goliath, David.

You need to have a little light around you, not much.

You're a long ways away.

60 feet, 6 inches.

I remember.

I've been there, but now they have lowered the mound.

It used to be 15 inches, but these guys got so big and fast that they don't do it as high anymore.

Okay, I think we have done part 1 of Goliath Batting or whatever the title is.

Goliath at bat!

We'll see you next time and you be sure and get a box seat.

Be in the front row!

Bye-Bye!

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