In 3 words I can sum up everything I know about art!

It's still wet!

[piano plays in bright rhythm & tone] ♪ ♪ Welcome to my world where we're going to do "Two Different Worlds," and that's the title of the painting.

But we don't assume that they don't like each other.

They're both involved in what they're doing, and they're both having an important presentation.

Now let me say something about this.

This is the middle stage.

This is the acrylic stage, and then we'll bring up the finished oil stage as we go next week.

For this week, we have a priming that's Naphthol Red and White.

We have this all over the canvas.

That's dry acrylic, and then we put a tracing on that will be very helpful for you.

So we'll go ahead and start putting some color on, and the way I want to do this is, I want to kind of get rid of some of the background and the sky, the water, and the lower right and left corners.

Then we can kind of zero in on the people.

So I have a mixture that is Ultramarine Blue, 3 parts Ultramarine Blue, one part Naphthol Red and some White, and I'm dipping into the water.

I'm almost ready to paint over there since you're not finished.

And as you do this, particularly in this stage which will become this stage is, you see a lot of the pink showing through on the canvas, and that's fine, and then we decide in the final when we put oil on just how much we want to save of the pink.

It gives a nice unifying effect, and it makes the colors that go on top very rich.

The thing I like about doing this is that so if you cover a line a little bit, just touch it that way.

When you're at home doing it, there's no reason not to be just a little more careful than I am.

This is a scene that was down on our Santa Barbara oceanfront.

I saw these two people.

They were building, just exactly this pose.

It was really nice, and then you always assume, what are they doing?

What are they thinking?

Okay, I'm using more of this color.

I'm coming all the way around.

What you did notice that I stopped a little bit up in the top of the sky and down near his head.

Then I'll come close with this so you can put some lights on.

Let there be light!

And it was the first stage.

This comes up.

We'll have a little almost like a little island there for the sand.

I believe what I'll do is go ahead, we'll put some light on in the sky and some light down on the sand.

So we're sort of leaving the little couple unfinished until we do the rest.

It'll be fun to do.

They're going to look like they're needing some sunscreen, because boy, they are pale!

Aren't they?

Well, that's the way it is right now.

So for the sky, I have some Yellow Ochre and White.

This is the White.

We'll add in the Yellow Ochre.

Then we need to have something just a little bit in there so it isn't too light.

I think what I'll do is take, and you say "Buck, you're talking about thinking what you're going to do.

Don't you know what you're going to do?"

Not totally.

See that's just a little bright, so we'll put just a little blue in it; let's take some of the Ultramarine Blue.

See that, you can see the difference between it with the blue, without the blue.

I can use the same brush.

This is a nice bristle brush.

[laughs] That came out-- [Buck mumbles] [mumbling] That's kind of the brush it is!

Bristle!

I like a bristle brush often in just spreading things out because you don't have to use a lot of, in this case a lot of water, or a lot of oil when you're doing the oil painting session.

It's very forceful, and notice I just kind of leave that just a little rough-looking.

Unblended is another term I could have used.

She has a nice light that comes down, which will be against her head, and then on his side, you see it in the front.

And those aren't accidents.

It's on purpose.

Here you get the feeling, I wonder what she's thinking?

And here, what is his vision?

But we have some of this light down in front of her too.

So she has vision plus thinking, where us menfolk just go ahead.

Okay, so this goes out, and this will almost represent a little wave against the body.

Now when I come down lower, in here, I need to have just a little darker, so I'll use Raw Sienna.

Where are you, Raw Sienna?

Oh, here you are.

I'll take this over, and I'm just going to push in some of the light that we used in the sky.

That'll work.

You can see on this, there's kind of the Raw Sienna underneath, and then there's a little light that will go on top.

So we'll start with this.

These shows are so much fun to do.

You support your local PBS stations, because it's such an opportunity for me to do the shows, and they are very easy to work with.

At least the ones I work with, I should say "play" with, because we do all sorts of things.

We'll come down like that, and then over.

Let's see, I don't have any in front there quite that way.

So I'll go over a little bit more.

I'll put just a little Umber in that mixture; Burnt Umber.

Touch of that, and this will be the start of our little sand castles.

And in no way should you be judging and saying oh, I like hers better than his!

We don't say that... but I do!

They're both good, and maybe they're doing it to surprise each other rather than being in competition with each other.

Okay, we'll jump over here.

Over here, and I think what I better do-- get started on the bodies, because any of this that we don't take care of right now, we can later.

So on the flesh, what do I have?

I have 2 Burnt Umber, 1 Yellow Ochre.

I have it right here.

I haven't mixed it yet, and a little touch of red.

So that looks like about 4 Burnt Umber, 2 Yellow Ochre, and 1 red.

And this, of course-- I'll put a little White in it too.

I think.

Let me hold this up.

Well, the value's all right.

Let's go just a little bit more red.

That is a good choice.

Okay, I have a smaller brush.

So what's the formula then?

It is 4 Burnt Umber, 2 Yellow Ochre, and almost 2 of the red.

You betcha.

We'll just put the flesh on.

We'll leave a spot for the suit.

Boy, she's been out in the sun a long time.

That's a pretty good tan!

Once you have this on like that, then you can come with the background color and just firm up the leg a little bit more gracefully.

On the arm, you have the shadow side, which comes down underneath the lower half, and then you have the highlight that we'll put on later.

Okay, you have that.

Good, and let's go on your back.

The back is pretty much all the same.

Did you get the right color there?

Yeah, I got the right color there.

I ran fast down to the palette; picked up the same thing.

Okay there's-- gosh, it's amazing.

Some of this color goes on the hair... and it comes a little bit on her profile.

Then eventually there's a little light hair that'll come down across there.

So it's quite a simple composition, because if you have the drawing done for you, what are you going to do?

Just fill in the dots!

Cover the numbers!

Same color on his flesh as on hers.

And with his back, a lot of that's going to be in the lights, so we won't put this there.

I'll come down the forearm, is in shadow.

Holding a little shovel.

His face is in shadow.

Profile.

Go right across the ear?

Yes, I'll go across the ear.

I can find it so that we can put a highlight on it.

Oh, his legs.

My teacher once told me that he painted a painting "The Ride of the Valkyries" a Wagner opera, but he painted this galloping horse, and he went to this exhibit where his painting was on the wall and he saw this guy admiring it.

He came over and says "What do you think, sir?"

He didn't say I'm the artist, but he was hoping the guy would say oh, it's one of the best things I've ever seen!

And he said "What dumb guy painted this?

The horse only has 3 legs!"

Claude was so interested in painting that he had the music on and he said that he would come riding up, galloping up, put a stroke on, go back.

So apparently, came one leg short.

This is going on the hair.

I think that's all right.

Okay, let's go ahead and put some la, ♪ la la la la la la la light flesh color on.

So I'm going to take the same color that we've been using and see what happens if we just lighten it with White.

I kind of like that.

I might put a touch of red in it, just because it looks like I'm doing more than just painting by the numbers.

And down the arm.

I notice on the bottom of that back, let me point to the original, it doesn't have much light down there.

So I'll take some more of that dark and sort of push up, and what happens here is, it pushes up a little bit into the wet paint so that it isn't quite as dark as over on the side.

So that was a nice help.

Thank you.

Thank you whoever did that.

His feet!

Just like that.

Okay now on her arm, we need some light.

So I'm taking this same mixture.

I'll just add a little more red on that.

Oh, that's even better!

And when we put the color on, the acrylic stage, you'll see a little more refinement in that.

Okay, let's go to her hair-- excuse me, her hat.

Naphthol Red!

Oh, that's good.

You just make the curve.

Make the curve!

Got it.

Got it.

That's a very attractive color.

That's what she was wearing, and it looked good!

Taking Ultramarine Blue, straight.

Oops, got a little-- not straight.

There it's straight.

And you always watch, so when I look at the front, that comes down just on the side of the face.

On this back one, it would follow the line on the hair.

So I want to make sure that I'm just over far enough that it would come down there.

So that's the line that helps me.

So in reality what I've done is just adjusted the drawing a little bit.

I don't come out quite as far in the front.

Okay, what kind of swimming suit does she have on?

It looks like it's Viridian Green.

Viridian Green, and Viridian Green.

Him-- oh you got a swimming suit on too!

You better hurry and get a suit on there!

This is going to be Ultramarine Blue.

I'm saying that, and my hand is stuck in the Ultramarine Blue.

Let's jump down to Phthalo Blue.

Are you Phthalo Blue?

Are you Phthalo Blue?

No, you're Payne's Gray.

Here's Phthalo Blue.

Good.

It would help if you'd mark these things, Buck!

Nice curve.

And then he has the smallest amount of light showing for a little form on the back of that suit, so we can use just a little, I'd say White.

I just didn't reach that far.

I picked up some of the sky color.

That'll make it feel like there's a body in that suit.

Now let's see what else.

I know there's several other things to do around, but let's go ahead with the red shovel.

This is Naphthol Red straight.

How come he's got a shovel, and she doesn't have one?

Oh!

She's pretty clever without the shovel.

She's got the scoop on him!

Okay now, just to clean up a little bit.

Oh, before I go to cleaning up, I'll take a little bit of that light color that we had.

This is Raw Sienna and White just to give a little feeling of highlight on the hair.

Wouldn't it be easy to grow hair that easy?

We're there.

All right, now for cleaning up a little bit around the figure.

So I have, this is the Ultramarine Blue that we put on to start with, a little bit of red, I'm working just a little bit of this tone into it.

Oops, that's too much.

I need more blue.

He has a little knee showing out there too that we need to make sure that we get in.

♪ I hear you.

I hear you knocking!

♪ Okay, a little of this blue shows on this side, and this is what I was referring to where you can kind of form the leg up a little bit.

So as I put that in there, push against the dark just a little bit.

A little more on this side, and see, then it's a little more graceful leg.

We have a little shadow.

I'll just take some Burnt Umber, and I still have a kind of a dirty brush from having put on that blue there.

This is a little cast shadow from her foot.

Okay, let's swish around a little bit down below, and I like this kind of grayish tone that we've used around a few places.

Let it come down in there.

And I feel if I put a little White in that, same mixture, I want to be able to see that golden tone through it, but you can see that I'm putting this on and it gives just a little less yellow look.

Where'd you come from, blue?

Probably from the paper towel.

Do I want you?

We could make another shovel out of that.

Well, let's say not.

I've wet a paper towel and we'll just slide this along like that.

No panic.

No problem!

Got it!

Let's go a little lighter, this is my Ochre and White.

This is what we used up in the clouds.

♪ Two different worlds we live... ♪ Oh, anybody out there, have you paid extra for the singing?

[laughs] I've told this before, but let me just say it again.

I had a gal in an art class once, and I was going around and going ♪ Daa da-da-da dee dee.

And she says when I was growing up, I wished I could sing.

Now I wish you could sing!

So if you've heard that before, you've been a fan of the show for a long time, and that's what we like!

I love to hear from you.

I love to hear from those that aren't artists, but you enjoy the visit.

You're very important to me as well.

Okay, let's see what else we might have.

I think I'll go just a little darker in the sky.

This is Ultramarine Blue, maybe just a little White.

When I look up there, I feel a cloud coming in, which I've kind of ignored.

Now, the horizon is going to be right here.

It's a good spot, because it hits his head.

His head's just a teeny touch above it.

[soft scraping] And on this side, we'll go a little darker, same Ultramarine Blue, down in the lower part.

I better use a little water.

Okay, this is stage one of "Two Different Worlds."

We'll come back next week.

You come back next week, and we'll show you how we go on with this painting towards completion by adding oil paint.

You got all that?

See you next week, and remember, it may still be wet, but it won't be next week!

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