A father must be ready when his child says show me how, Daddy.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Ready to go.

Part 2 of a 3-part series.

Oh, what energy you feel when you look at young athletes.

So let's look at what we have We have the finished product on the left.

I showed that to you prior to beginning the first stage.

Then on the right is, we have the intermediate stage.

This is the one we'll work on today.

I'm going to start with a little Walnut bath.

And basically what I'm saying, there's nothing in the Walnut Oil, there's no color.

You do not see color, please don't see color.

That just means that the brush was a little wet or that the medium was a little wet.

Now, I'm going to take and wipe this, not because it has a little color in it, but because I want it to be thinned out.

[soft scraping] Then I'm going to put a little Alizarin Crimson glaze on.

I'm not sure yet where I'm going to stop on this.

My first intention was to do it in the sky.

Oh, isn't that something?

It looks bright when you first come out, but spreads around with the oil Now, I'll take a paper towel and just smooth it around.

It'll soften, you can see it kind of settles in place.

This makes it so I have something to blend into and thereby looking softer because the glaze will soften it as you blend into it.

Okay now, the question I have, do I want any more?

Maybe just a little bit on the-- whoops, White, you get back on the bus.

It's not your turn.

Let's come over on this side, and then we'll come more here, and we'll wipe just a little bit.

You are kind of nice, but you are in the wrong place.

We already have one waterfall.

You came late to the audition.

[soft scraping] I'd like what happens, for instance, right there.

You can see that Alizarin kind of working over what was there, and it's a very lovely.

Okay, now I'm going to start pretty much like we did last time, and then we'll build up lights from it.

This is the 4 White and 1 Yellow Ocher.

Now, you can see that looks light.

That's what we did last week, but it's lighter because I'm working into a glaze, which has toned it just a little bit.

I like the effect of rays coming down.

Come close to the father's head.

I'm bringing this down more than it is going to stay.

So I'll kind of work back just a little bit with wiping some of those distant trees.

They're soft, but they're not as indistinct as they were with the first wash. Now let's go ahead with some highlights which will represent the sun.

Not the ballplayer's son, but the sun in the sky.

This is 2 White, 1 Cad Yellow.

And I'm using the knife to place that on.

Because I want quantity, and it will also blend a little bit with the Alizarin that's there.

What are you doing?

Okay.

And we'll see what we want to do.

We may even go lighter down below, but we'll wait to judge that.

Okay, I think I'll work on the inside close to them.

And what I look at there is having just a little bit lighter than what's there.

So what do we have?

I have Viridian Green and White.

And I'm calling that sort of a one-to-one.

Let's see if that'll work.

Yeah, maybe just a little more White, so it's about 1-1/2 White and 1 Green.

I'll place it on where I want it to be rather than blending as we go.

A little bit under his arm.

This will all help for distance.

Stands out away from the background.

We'll go right across the waterfall for now.

And let's go behind him, behind the father.

Some there, and particularly down here.

Now, I'm going to trim just a little bit.

I like that better; I'm sure he will too.

We have it under the arm, we have it down by the arm there, we have it close to the bat.

Okay, now I'm going to blend that around just a little bit.

This is just dry brush.

Of course, we did put on that Walnut Oil and a little Alizarin Crimson, so it's very controllable.

Controllable-- is that a word?

Controllable.

It is now.

Easy to control.

Up near the bat handle.

Okay, let's come down under here, across there.

Pulling down just a little bit, and then when we come to the boy, we blend it away.

It really is a nice feature.

It puts some real focus on him.

And probably what we'll do is, in the final stage, we'll put a little light around his head so he has more focus.

So we'll leave that for now.

What I want to do next is to come with, this is-- you are Yellow and Orange, equal parts.

Let's see if it's, okay, so just a little brighter.

I do want to go a very strong light on the shoulder.

So this is just making his shirt a little bit better.

Um, he's going to be a number 3 before we finish.

Oh, it would be so easy to put on a number 1.

Wouldn't it?

Okay, on the sleeve edge, let's put a little bit of the same thing, but we'll just put a little bit of light in that.

And the light that I want is going to be just as light as the sun.

You sure you want that?

Yes.

No, let's jump to the sky color that we put on first.

Oo, that's plenty bright.

I'm glad we didn't go to the real light one.

You know, you look at that, and you think, just pull your shoulders back and step into it.

And he's going to do it.

I have no doubt that he will do it.

Okay, I want to put just a little bit down here.

This is the same thing that was just up on the shoulder.

Okay, now we'll take and use, let's see, some of that same light.

I'm looking at this.

This is the light we had in the sky we put on him.

Let's go just a little stronger on this, on the bat.

It's not on this, it's on the bat.

And his is just a little bit.

Ha, ha, ha.

I know where to move so you can see.

And then up here too, just a little bit of highlight.

And a little bit on the handle.

That bat almost seems a little long.

Let's take some of that green the Viridian Green and White.

So I'm going to come down-- see, that's too large.

I have to tell you a couple stories, and they don't have anything to do with baseball.

Let's go with that same thing, I'm going to use, this is White and Green.

I was once showing a fellow, he asked me to come to his office and bring a seascape.

So I brought this seascape, and I'm standing there holding it.

And he liked it, and a guy came by the door and said, "Oh, that's horrible!"

He was the interior decorator, but the guy who asked me to bring it liked it very much, and he bought it.

But let me tell you another story.

This one has a happier ending.

So I was going to do a demonstration for an art group one night.

I came down early, and they asked me to bring a bunch of paintings.

So I had about 20 paintings sitting around there.

So I was sitting in the back, and I was alone.

In the door came a little old lady.

She walked, she looked, and she stopped, and she says, "Oh, God bless the hand that painted those paintings."

The two extremes-- you are sometimes going to have one, sometimes going to have the other.

Just don't let it stop you from doing what you want to do.

Just blend that a little bit more on the bat.

Okay, let's go to him, and when I say him, I'm talking about the father.

I'm going to have, this is-- what are you?

You're 2 Burnt Umber, 1 Burnt Sienna, and a little bit of this.

A little bit of this.

I want to put this on just above his eye.

And a little bit on the cheek.

And a little bit on the ear.

Now these, I'm placing them, which means they'll need to be blended.

But I'll let them set for just a little while.

And maybe just a little bit on the chin.

He's got the Paulson chin.

♪ He's got the Paulson chin.

Not the Mrs. Paulson.

I'm taking some of this and putting it out here too.

So it's the same thing, but you kind of blend it just a little more.

And you soften the far edge so the hat kind of feels like it's laying down there.

Okay, on the boy's flesh, let's come with, gee, I have what he had on his shirt.

Oh, what a choice boy this Justin has become.

He's now a man.

He could really hit that ball!

Oof!

And let's see, just a little bit on the edge of the ear there.

You've got a lot of hope for that guy.

I kind of like what we just did with the orangey tone.

So I'm going to put a little bit on this guy.

This would almost be a better choice where the first light on him.

Blending that around a little bit.

What I want to do next is to take and go to his shirt.

Just change places.

You know, you don't have much of an eye.

I better put a little Umber in it before I go.

Right in here, just a little bit of a curve.

Yeah, now I believe you, Daddy, I believe you now.

Okay, let's go to his shirt.

On his shirt, we just want to go a little lighter.

Let's see, you are Ultramarine Blue and Phthalo Blue and White.

It looks like equal parts of Blue and Blue, then I'm adding a little White in it, so it's just going to give us, oh, the highlights that we want on this.

And it's so important that when you are doing the drapery, in this case the shirt being the drapery, you get the little movement.

You can see them there.

This goes right up to the top.

That's a clean looking shirt.

Keep it that way.

Now, this is the son that made the shirt for me that I'm wearing today.

I'm wiping off so I have very little paint.

Just there... and a couple here.

Those can always be softened a little bit by-- this is a dry fan brush.

Like that, and I kind of want to have a little bit of-- where did we use this color before?

I don't know.

So it's Purple and Black and White.

I want just a little bit of this to show, just a slight feeling there.

And down by the knee, there's just a slight bend, and you get to see a little bit of the foliage there.

Not the foliage, the wrinkles of the shirt.

And I put a little line here.

That is the bottom of the sleeve, but at the same time you can see right in here how it separates the arm from the body.

Okay, let's take a little bit of that same color, and we'll go up to the cap.

Just a little bit of a light there.

And same way on him.

These are all little things, but they are not little things.

I added just a little extra White to it for down here.

You need to point up just a little bit.

You are just right looking at your daddy.

I want to take a little bit of this background color.

This is the sky color, the sky color.

And I want to make sure we have a nice shape on that head, the cap.

We'll come down close to his mouth, nose first, mouth, chin.

This is nice that we've got three weeks to do this one.

I wonder, I feel a little bit, and I'm taking the sky color.

I feel that this is out a little far.

So let's cut it in just a little bit, like that.

That feels more accurate to me.

I'll put some dark on just to make sure we have a nice bend here.

There we go.

Now, let's see what we'll do next.

A little dark in here.

This is both the combination of where his hat ends, his cap ends, and where his hair is.

Let me measure something.

There... yes, they are correct.

I thought all of a sudden this was out a little too far, but it isn't.

Let's take a little bit of our glove color from last week that we put on there, let's go just a little bit on here.

Great.

Now, I want to have the smallest light.

This is White, and I'm mixing it a little bit.

It might touch into the yellow slightly.

But this will give us that light on the-- are you a baseball or a softball?

Looks like a softball.

Okay, so here we go.

We'll put this on at 10 o'clock.

That's on that little clock.

There's 10 o'clock, and then blend it.

And we'll see about some threads on it when we finish it.

Okay, let's put just a little of that same light... coming down just ever so gently.

I want to take some of this color and put down at the bottom.

Remember what that was?

I don't remember what it was.

It's the two blues and some white.

Just showing a little splash on that, splash up just a little bit.

Now let's go lighter.

I want Yellow and White, and yet I don't know if I do.

I'm going to take some of that same blue and put it over here so it's a little bit of the waterfall color, and a little bit of Yellow and White.

So you just want to lighten these little bit.

Oh, it's such a nice feeling when you have the father just putting his arm on the shoulder and saying, "You can do it."

It gives the son such confidence.

Of course, there's always that-- show me how, Daddy.

He's not asking him to hit the ball over the trees, he's asking him, just hit that ball, make it sing.

That's a nice batting glove.

We can put a little line behind it, I'll take Burnt Umber, and we'll put just a little bit showing the edge of that.

And then if I have a small amount of the gray that we had on the glove first, we'll just touch this so it has a little bit of form.

Well, it looks like number two has been done.

And it needs a number three.

So you be sure and come back next week, because we're going to finish it.

"You can do it!"

-- you can do it!

See you later.

Bye-bye.

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