Remind you of Casey Stengel, the great Yankee manager?

He once said, and I refer to Joseph, he never missed a ground ball... that was hit to somebody else!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ I need to explain one thing about the hat.

I'm not a great Yankee fan, but I was talking to a person one time, and I was talking about hate and love and all that.

And he says, "You need to love everybody."

And I said, "I do."

He sent me a Yankee cap to prove that I loved everybody.

I love the Yankees!

Okay, let's go ahead and do our little shortstop and what we have over on the left is what I call a pochade.

This is a pochade of my nephew Joseph, and this is what I used to make my painting from.

Incidentally, if you come down and see this small photograph, it's Joseph and his little sister Kate.

He's helping her hold the bat.

That's so great.

Okay, let's go to the palette and I dipped in and got a little Walnut Oil, and I have here, this is blue and White, the Phthalo Blue and White with a little touch of Ochre.

So the blue is kind of faint, not strong, and I'm going to put this up in the openings.

In fact, in fact I think I'll go even lighter.

Little bit lighter, yeah, I like that a little bit better.

Just a little bit so it gets a little vitality into it.

So that was just-- did I?

I guess I said Walnut Oil but that could have been dry brush.

All right, now we'll go over to the tree and the trees.

And what I will do there, I'll put some color on that will be very similar to what's already there, but it'll make it something that can blend into.

So this is my Permanent Green Light and Van Dyke Brown.

And as I do this, I'm doing it kind of spotty like so it's not all totally even.

Why?

I don't know.

I don't know.

I guess because where I put the light, I want to put it where it's wet.

So since they're not going to put it over in the certain areas, there's no reason to wet it.

Okay, now let's try some of this.

This is Yellow Ochre and Permanent Green Light, and I want to see if this will be a good step up.

It is.

I'm using a corner of the fan brush and kind of dancing it on.

I have a little bit of a slant, and when you do this, you want to make sure that you have a nice flow.

See, that's a nice flow down through him.

So it's a little bit lighter up in the corner-- kind of a starting point.

Then we want to disguise a little bit, so we'll come down here and hit a few that don't have any necessary direction to them.

Okay, same thing.

We'll go up above, over in here.

We've got quite a bit of space there.

This will all act as a little bit of a canopy over the scene.

And I find that when I do this, I'll want to take-- and I'm just wiping the brush so I don't have much paint.

And I'm coming down, just touching the edges of the dark edges of the foliage.

That was a good call.

Okay, let's call that enough.

Often after it sets awhile I'll say-- it's set awhile.

We'll just-- oops, I'm going to take a bunny brush.

It's just a little more gentle on it.

I could've used the fan brush if you let it set up a little bit so it just kind of softens in place rather than extending out.

I see some of this light green tone, being just down on the edge of this dark line.

It goes up a little bit on the fence.

Okay, now on the fence itself, I'm taking a little bit of, let's see, you're Raw Sienna and White.

All this will do-- will give me a little bit of variety of lighter lights in certain places.

See, it all takes you right through, from the ball through the fellow with his arms, his head, his hat, up to this.

Up to the fence and up to the sky.

Okay, a little bit on the lower grass, and then we'll go to the boy.

On the lower grass, I'm looking for two things.

One is taking the same dark green that I used up in the upper foliage and I want to have this come down, and I'm going to wipe just a little bit.

This is with Walnut Oil, then I'll wipe just a little bit.

So it has just a nice feeling, not too sharp at the edge of the grass.

Now, my son Johnny would really say, dad you need to mow the lawn.

Okay, what about down below?

I don't know.

I'll try it, and I'm not sure it'll put-- yeah, what this does is it makes it so you kind of envelope the center of interest, the boy.

So I want to make sure that this is just dark without being too definite.

Otherwise it'll look like he's playing in a weed patch.

Okay, now on the hat.

I'll take a little Blue and White and see what that does.

It's just a little lighter than what was there.

This is all oil-- we did the first stage in oil.

It's dry and then this is on top of that.

I'll take just a slight bit more blue because I don't want it to be a light blue cap, but it's a blue cap with a light, light, highlights.

And I want to show you something because I want to have time to do it and that's to take-- are you the brush I want?

No, here's the one I want.

I want to take a little bit of the light color.

This was up in the sky.

Now watch this carefully.

Ah!

No New York Yankees there!

Maybe not even Boston, because that would be red.

It's Buck!

Buck's team!

All right, let's come down to the shirt, little bit.

We have the Quinacridone Rose again with a little bit of Orange.

So let's see if this makes any difference.

Oh, I like it... it's just a little fresher.

Then I'll put just a little bit of wrinkles in the shirt down there.

And then what helps, you can see on his shoulders, there's a little bit of white.

So when I say white, I'm mixing a little bit of the Rose and White so it's not straight White.

Oh, that's a good light.

And one on this side, and I believe that's the extent of the light.

Maybe come down just a little bit towards the chest.

You made the team!

Good for you!

All right, let's come down to the arms, and I think on that, the first thing that I'll do on the arms is just a little bit of a glaze that we can work into.

So we'll, on our glaze, we're taking Raw Sienna-- did you get a little red in there too, Raw Sienna?

Okay.

So I'm putting this on the arms.

Whoo, it is a little bit of red.

Well, that's all right.

It's all right.

No, that's Raw Sienna.

Come down there on the fingers, on this arm, and let's go right up on the face.

Still the Raw Sienna, straight.

When you put it on thin enough, you can go right like that and you can see the features through it.

So we'll put highlights on now that's-- bring that over just a little bit more.

While I have that color, let's go ahead, we'll put a little glaze on the glove too.

That's a good glove.

What is the brand?

Ha, ha!

You didn't catch me on that one.

We're not advertising for anybody, just get a good glove.

Oh, I have to tell you how lucky the guys are today.

When I learned how to pitch, it was by looking at a newspaper and it showed this guy in like that.

Well, when I tried out with the Fargo Moorhead Twins, Danny Litwiler who'd played 11-1/2 years in the majors was the manager.

So, I'm trying out, so he says go down in the bullpen and throw, then he came down there and he says let's see your fastball.

So I'd throw it and he says oh, that's good.

Throw a couple more and then he said let's see your curve.

So I put out there like that, and he came up, and he says now look, bring that elbow in.

And oh my gosh, the curve just jumped!

Five seconds of coaching and I had a great curve ball.

Before that I had a high school curve which worked, but gee, it sure helped to have good instruction.

Okay, now we're going to take a little bit of Orange and White and maybe a little Yellow Ochre too, I'll see.

There's the Orange, this is the Orange and White.

I want just a little Yellow Ochre and a little more White.

Ah, and a touch more orange.

Uncle Buck I'm getting tired of holding this pose!

Okay, here comes the highlights.

And see, we put on Raw Sienna on the face as a glaze, and so when I put this on, I want to use a small amount.

I had it a little bit thicker there which is the light direction.

But then you can soften and control it so much.

You can make the blend as you go.

Little bit on the chin, let's see, what happens there?

Let's cut that in a little bit so it's not too wide a mouth, little bit right in the cupid's bow.

Perfect.

Little bit on this side on the outside edge, a little bit on the bottom of the ear and this side, kind of the full length of the ear.

Oh, this is so much fun!

Joseph you are such a good model.

Is there any on the neck?

Yes, a little bit on the neck.

And I'm not as careful as I should be, which means when you get some of these real dark lines, kind of blend a little bit so that you disguise them.

They're not going to be a competition for you.

This goes right up along the hair there.

Okay, now on the arm.

The biceps are up above.

What are you?

Triceps?

I don't know.

You do need to study anatomy and make it correct.

This has just a little reflected light on the outside.

If you use a small amount of paint, like that Raw Sienna that I put on the arm, then you have a little more control.

Coming down on the thumb, and here's my fingers.

So when you have the fingers with the Raw Sienna first, and then you can kind of establish them just a little bit more as you work the light into them.

But you make sure-- boy are you a long finger, a long thumb.

Oh, wonder what happened there.

Now you're okay.

Cleared to play, Joseph, cleared to play.

Bring that down so the finger's just a little longer.

You can do careful work on that.

I'm just kind of going a little fast to show you the rudiments of doing it.

Come across there just a little bit.

Okay, now the other arm.

And we have a good light here.

See, this again, I put the Raw Sienna on that I'm now working into, and if the first one, the Raw Sienna is not too wet, in other words, it's fairly dry and then when you add light, you have much more control on it.

Now again, what I've said before is that some of these dark outlines, I'm not really worried about them now, but do they-- like the Raw Sienna should come over and touch on that.

Now let's go a little darker with what color?

Burnt Umber, into the eyes.

Just a little bit so Joseph can see what's going on.

And I do have to have a little dark from the cap.

Did that work?

How did the red get out there?

It couldn't come from me could it?

All right, on the pants a little bit-- this is Umber and White.

I see just a little reddish tone there too, so I'm putting some of the red in there.

It gives it a little more vitality than just the straight Raw Sienna and White.

And down there.

Okay, on the glove, we'll take a little bit of Raw Sienna and White or should we take, let's take orange and Ochre.

Make up your mind, Buck.

Well, you know, so much of this it's not all there.

I kind of do it in front of you, and I enjoy that, and I hope it's not too confusing.

Okay, a little light there and here and here and then that little pocket and a little bit on the edge of the glove.

I love baseball, softball, and I have a homemade game called "Buckball."

Been playing for years, it is so great.

Now a little light blue and white on the edge of the shoes.

Get out of the way, Buck.

Okay.

All right, now let's do just a little light on the ball.

We don't have to have it too new.

Where's the light coming from?

The left.

Therefore I'm correct if I put this light strongly there.

And then to make it an official ball, we'll have a little bit of red.

Let's see, how should we do that?

Let's do it this way.

Boy, what a marvelous thing it was to have that instruction from Danny Litwiler.

How to through a curve ball with 5-second instruction.

I'm just narrowing that a little bit, so the threads aren't quite so wide.

Okay, I think he's going to be able to get that.

We need to have just a little light around the mouth so the mouth isn't quite that large.

So I'll hit underneath here, here... and there.

And we can have just a little line in between the lip, let's see, what do we have?

Alizarin Crimson.

Yeah, so that looks pretty good.

I will put just a little shading and I'm using Burnt Umber to do it.

Just a little shading that would go from the chin onto the neck.

That's great.

Joseph, you look pretty good.

We can go a little lighter.

Let's try without getting too carried away, just a little lighter in each of the light areas on the face.

So I have Orange and White and, as I look at them, one would be on the cheek.

That's not very much lighter, which is fine, but I'll go just a little bit lighter.

On the nose, down at the bottom of the nose... And see, these can be put on without any further blending because it's such a close value to what you already have there.

We can even do that over on the arms.

Where's the White?

Lot of this, if the values are so close together then you can almost put it on without blending, you keep just some strong strokes.

Little stepping up there, little bit on the edge of the glove.

Oh, I like you Joseph, I think you're going to be a winner.

Let's just check the one arm here.

Want to make sure that that has a nice curve out to give him some good muscle there.

To think the guy that invented, or I guess you'd say invented, sports, softball, oh it's great.

Now I'm going to come just a little bit, so you get some, just a little folds within the shirt.

I think what we better do is put just a little dark under his chin.

We want to make sure that there's a difference between his chin and his neck.

So there's just a little bit.

Where are you Umber?

Oh, there you are.

Okay, is there anything else we should be doing on the background or anything else?

Just blend a little bit, touch his hat.

Let's take the smallest amount of light-- this is Yellow, it's got a little Green in it.

Just a little bit so we have some semblance of light on the grass.

Maybe a little dark, right there.

Oh, he's going to pick that up.

He's going to throw that guy out at whatever base he's trying to go.

We have to say good-bye.

I know we have to say good-bye, but I want to bring that shirt over, touch against the neck.

There, that's much better.

Okay.

Have we done it?

Have we done it to please you?

We'll keep swinging and we'll see you next time.

Good-bye!

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