I know what they are thinking-- where's Dad?

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ You know what is kind of funny is, when they are saying "Where's Dad," you're wondering, was dad out there surfing, and now they can't see him?

Oof!

Or they are just saying why isn't he here with all this great water action?

Regardless, we're here.

I'm going to start work on David and Tim.

We'll go to David first since he's the tallest, no, since he's the oldest.

I'm going to take Raw Sienna, and make just a thin brush on the hair.

Just a little, see, it just shows up a little bit more.

Come down in the front too because he had his hair kind of low.

Then after I do that, now I can go just a little bit lighter.

This is a little Orange and White and Raw Sienna-- anything that looks just a little lighter than what's there.

I'm using a flat-- you're not flat, you're a sable.

You are not a flat brush.

Okay, I think that-- oh, his hair is wrong so let's bring it down.

Nice to have hair!

All right, let's go over to Tim, and we'll take Burnt Umber-- do you want to take burnt Umber?

I want to take Van Dyke Brown.

This looks like Jackson's hair.

Just a little White in the Van Dyke Brown.

And come down, not so much there, but we want it to kind of continue.

It's a broken stroke rather than just one long one like that.

Then just touch it a little bit with that magic finger!

Ah, I think I got just a little too much there, so we'll put just a little bit of the dark back in on this edge.

Okay, now let's go to their flesh.

What I would like to do on this, would be to make, let's see, you are Raw Sienna and White and a little Orange.

And let's put just a little White in that and see what we get.

Can, can in a bottle.

And we'll look up first on Dave's shoulder.

And what I plan on doing is spotting it in, let it sit for a while, and then come back and blend.

A little bit on the neck, and a little bit on this shoulder.

Then I'll come right along here, because you see where the spine is?

This is just the edge of the flesh to the left of the spine.

And this one down at the hip.

That's a good strong feeling, you really feel like he's leaning against that rock.

Pull this down, not as much paint, but see here, I can put this on, blend it, and then if I want a little accent, not accident, Barb, accent, then I can go even lighter.

I like that-- the tapping makes it almost feel like the flesh can move.

Let's go ahead and tap this over now.

Oh this one, I need to come a little closer so that spine isn't too dark.

It looks like he's got a cut in the back.

All right, now we'll bring this down.

I'll blend a little bit towards the biceps.

Did you know that I was once a physical education major?

And we had to take kinesiology.

I think at the final test it said spell it.

I probably would have failed kinesiology.

We had to learn a lot of things.

Gee, we had a great teacher.

That was at Moorhead, and at that time, Moorhead State Teachers College.

I don't know what it is now, just maybe University of Moorhead.

Down at the calf... gee, that's nice.

And I'm doing pretty much dry brush which gives me the control that I need.

A little bit of the foot there, not much, and a little bit here.

It comes down and touches the heel.

You see the little heel bone?

♪ The heel bone connected to the knee bone.

♪ I used to love that song.

I forget who sang it.

And as somebody said, we request you don't be one of them that sings it!

You look pretty good Dave!

Maybe just a little bit more here.

The latissimus dorsi.

I say those things, then somebody at home cringes-- you got the wrong thing.

I was painting a horse once, and I forget what I was saying, I was painting one part, and it really was the name of a different part-- oh, gee.

Got mail, you have mail.

Over on Tim, I'll start up here.

And then there's a little bit disjointed, not disjointed, but separate light there, and a little bit down there.

And same like I did on David-- I'll put these on, then I'll come back and blend them.

I'm so pleased the way this is working.

Gee.

It just responds very well.

Just a slight bit up towards the neck.

And his good arm.

Coming down the back, it doesn't come down as far as David's did.

But there is a great support here, the leg.

And that is about it.

Let's go ahead and blend that.

So we have a little bit of a blend there.

This we'll blend towards the middle of the back.

Oo, one little hole there.

I did that to get rid of you.

Okay, now as I come down, remember what I was saying, this sort of fades out right there.

Then we'll blend just a little bit.

I think that is a good muscle.

Must've taken after your mom!

So next time we do a surfer, we'll say, oh, isn't it great, where's Mom?

You always have to gauge was what I said funny by the home viewers because you've got a pretty stoic crew here, they are doing their business and making this look good.

Okay, what about the leg?

A little bit on that.

Now what I want to do is just enhance the light slightly there.

I'm coming with White-- same sort of thing, but it has White in it so it's lighter.

And let's go right up the shoulder.

See, it doesn't take much, but it's great.

A little bit on the side of the spine.

And not much over there.

And the knee is lighter.

Wow!

Good job you guys.

I think you got a little foam in your face.

We'll just scratch that out.

Okay, let's go to the rock.

I'll do two things there, one, we'll start with the dark.

That would be Burnt Umber.

Burnt Umber rather than Van Dyke Brown-- are you sure?

Yup.

This will be a nice little outline against the foam coming in.

And when this comes down, it has just a little bit of an accent, contrast against the arm.

What happens over there?

I need to be dark there, so you don't really-- you're just seeing the elbow, and the arm is bent back the other way, so that has to be more definite.

We'll put a few little cracks in, then we'll put some lights on.

I want to first make sure that we have a good outline on this side of the rock.

It's the shade from David onto the rock.

That's why it's dark on that edge.

Okay, I think we're ready for some lights.

When I look at the original, I feel some green in there.

I feel a little bit here, but let's put just a little bit more in.

What color are you?

This is Permanent Green Light.

Do you want to go that much?

I'll put just a little Blue with it too.

And a little bit of this.

So I have darkened it just a little bit with Van Dyke Brown too.

See, this is almost there already, but I just want to make sure that I can feel it.

Okay now I'm going to take some light, and it's close to the flesh color, but we need to make sure that it has a little difference.

So I have, this is Raw Sienna and White, and I'm mixing it with the brush.

Come over and take a little bit of Umber.

A little more White.

Oops.

I think we're going to be all right.

I've got a little extra white showing there.

So this is showing me, and it will show you where the grooves are.

A little narrow one there, and then this.

You pat this pretty good because that rock has been sitting there for a while.

And the light touches pretty close to his body.

So we'll come over and push that up so he's truly sitting on the rock.

And as we come down, we'll just use the same color, but very thinly so it doesn't look as light.

So you get the change in direction.

That is so important in just about everything you'll paint.

I've always used the example, If you take the nose, you don't say, oh, I see light there or there.

This is one direction, the side is another direction, underneath is another direction, so you have to account for that.

I hope I didn't have paint on the finger!

So here, this is one direction, then the down is another direction.

So the value has to change.

And just as a final going away on that, let's take the smallest amount of, this is Orange and White with a little Raw Sienna and just put a little bit of knife work on it.

What I've done, and I'm not really going to change it is-- I have some Umber and Raw Sienna to show you-- I'm not going to really change it, I'll show it here.

But see, I want to touch and have that edge so you don't see quite the outline.

Let's see if we have time to do that.

But you need to do that on each of these-- just bring it out a little bit more.

Okay, now on their bathing suits-- you look like you've been in the sand a little bit.

So I'm going to put a little bit of Blue and White.

Well, why don't we put what's there?

It looks like kind of gold, so here is Raw Sienna.

Oh-oh, Raw Sienna is not showing through, it's not a ragged suit.

Is it?

No.

And then on Tim, we'll take and put a little bit of this, Quinacridone Rose, and a little White.

And blend those just a little bit.

So you get a little form down there too.

Now let's come down to the front of the sand.

And I'm taking Burnt Umber and White.

Boy, you do a lot of brush-mixing, Buck.

I didn't know you did that sometimes.

Um... and it saves just a little bit so it doesn't quite go out to the edge of the canvas.

And even on the other side, I will have to darken the corner.

It's a nice focus by the corners being darker, then you look inside.

You've got to be sure and clean your feet before you come home because you'll probably have sand on them.

Okay, now a little Umber for the corners.

A little, Buck, a little.

Well, it blends out.

Hey, get off there!

Oh, okay.

Over to the right, not as much.

Then let's try something.

We will take, this is a fan brush, this is a little bit of medium, and I'm dipping into this, which is Raw Sienna and White, maybe a touch of Orange.

And let's see what happens if we can... splatter a little bit, get some sand.

I learned this from a great gal in Florida.

Can you see that at all, or am I blocking what I'm doing?

It just gives a little bit of help to it.

Okay, now we will look at a couple other things.

One is to take and blend the foam pattern.

I've added so they are wet, and we'll take a fan brush, clean and dry, and I'll just go across gently, hardly touching it.

And it's just enough that had some laid down on the water.

And I'll blend the light into him a little bit too.

I'm going to let this light just sneak down on the shore a little bit so the edge of this foam meeting the shore is not going to be a big problem.

Okay, let's go over to the left side, clean the brush, blend.

I'm blending a little bit across rather than with them.

Then same thing down here-- we need to have this blend into what's up there... the gray foam pattern, always thinking of form, the form that's the way the wave is.

Blend just a little bit here touching against the arm.

I kind of like that where it's not as detailed against the arm, and you can pick that up, then also down here by the hand needs to have a little bit.

And inside here just a continuation of the foam pattern.

So we have some more light to put on down there... and a little bit in here... right against the rock.

What about in here?

If I just touch that without adding anything and push-- the fan brush is too big.

So I'll just soften that a little bit.

That has just a little bit of too definite of a character.

Like that.

Now let's go out to the second wave, out here, and we'll again blend so the foam patterns-- you can see such a difference when-- these are before blending, these are after blending.

So let's do a little after blending on those.

It's the fan brush, but you do it very gently.

Now, as I look at that distant wave, I like that.

I'm calling this the distant wave.

I like it, but I need to just touch a little bit so it isn't quite as hard, so it goes back where it should.

Just pull that down slightly.

Good character.

I've retained the lightest light, which is right there.

I'll just go on the back one, against the back one, and I'm putting a little Blue on the brush so that I can kind of draw slightly.

Arch there and over here I need to have a little bit of an arch.

See, those are all small things, but how important they are.

On the big wave, let's take, this is Blue and White.

Here's some White, here's some Blue.

And just looking in this area.

Keep it fluffy, but keep the value right.

Now, when I look at the original-- see that gray?

So we can put a little bit of that in.

So you keep your impact of the light closer to him, closer to him.

What about you?

Maybe just a little pushing in there.

So we have just enough time to make this thing sing!

Jumping back here, we kind of jumped down after we did that one.

I think you could go just a little splash-up.

Okay, soften by just touching it with a dry brush.

Actually when I say dry brush, it's dry, it has a little bit of the foam color on it.

Okay, let's look over on the right side.

And we'll come down just a little further.

If I come down a little further on this, it gives just a little bit more movement.

Your shoulder, it probably could have a little bit of the darker blue in there.

♪ We just have so little time.

Such a long way to go.

♪ We have come a long ways on this.

I really like what happened on it.

And I thank you for watching.

I couldn't do it without you!

Ahhh!

That was not the cheers of the fans, that was me just sighing.

We'll see you next time.

"Surf's up!"

Let's go for it!

Bye-bye.

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