Listen carefully.

The willingness to try outweighs the need to succeed.

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Play ball!

We are ready to do stage 3 of "You can do it!"

So I can do it.

You watch.

You look at this and you think well, that's pretty good.

What are you yet going to do?

I'm going to take some Orange and Yellow Ocher, and I'm looking over on my, I was going to say my son, this is my grandson.

Just on the outside edge.

And when I do the outside edge, I can still feel a little bit of the drawing, which is good.

I'll blend this over just a little bit so it's not quite as sharp as it ends from one to the next.

Okay.

And I want to take some of that and go on the other arm, the outside just a little bit.

You know, it's surprising, before you do it, you think, oh my gosh, it's all right, but you need to just touch a little, and you think, oh yes, it needed that.

Oh, take a look at grandpa!

He's got his baseball shirt!

Oo, I had such an opportunity last evening to go to the Roger Maris kind of memorial at this park.

Gee, that was good.

I roomed with him for a few weeks.

Okay, now I'm going to go up on the arm of the father.

This is my son David.

It's not much lighter, but it does give an edge, which shows the light hitting it.

That is very helpful.

Now, I notice on my little grandson, he needs to have an eye.

So I'll use a very small amount of Burnt Umber.

I'm kind of pushing against the canvas so it doesn't bounce too much.

Then I take and put this, just a little there I want him looking up at his daddy.

And he appears to do that.

I need to raise that just a little bit, that's it.

My father used to say, when you meet somebody, look them in the eye and shake their hand like you mean it.

Gee, that's been great advice.

I mean, I've broken a few wrists!

But ah, sometimes my own.

But that's great advice-- look them in the eye and act like you mean it.

Okay now, let's go ahead with a little number on the shirt.

What color do I want?

Oh, you're pretty dark.

You're Purple and Payne's Gray.

Whoo, okay.

Number three.

Oh, gee, you should have been a scriptwriter.

Good job, Buck.

[in deep voice] We'll be the judge of that.

Okay, there you are, number three.

I do feel we could have just a little bit of Umber and Alizarin Crimson, equal parts, just a little bit, maybe a little more Alizarin, even Umber.

I want to put just a suggestion where the sleeve edge is.

Good.

And here.

I like just having a little bit along there.

I just noticed that.

Okay, before we leave him, and the him is the little boy, let's put just a little lighter light on his pants, this edge.

I'm using the same thing that I put on his arm, arms.

And I'll just soften that over.

When I soften it over, it's not quite as bright as it was beforehand.

Okay, let's look up at his head.

I believe, and I'm a believer.

Let's take a little, this is yellow, no, you are not Yellow Ocher, you're Viridian Green and White.

What I want to do on this is brush-mix it to about equal parts.

When I look at the back of his head, notice there, it has kind of a nice curve.

That's very useful looking, so I'll take and just curve that in just a little bit.

Oh, I like that so much better.

Little bit up here.

This is just to have a nice light against the background.

Do I need any here?

We've already placed it on there.

Maybe just a little bit more under the arm.

I'll go a little closer there.

A little closer here.

Closer, closer, closer.

♪ I warm so easy so danz me loose ♪ Some of you guys, you might hear some of the songs that were familiar back in the '50s.

Oh gosh, that's a long time ago.

Alright now let's take and put a little light on the father's glove.

I'm taking Yellow and White.

Very little Yellow, and just on the fingers.

Can you see how I'm leaning against my other hand to steady it.

Just gives a little feeling of form as we do that.

And then same thing here.

Just a little stronger right at the top there.

Always thinking of form, always thinking of form.

And when you have light, you kind of need to have a little bit of shadows here.

So I've used Alizarin Crimson, just a little bit of a shadow onto the shirt from the glove.

That's great.

Now, the glove itself, it's black, but I'm going to take some of this color that we put on him, on his highlights.

That's Purple and Payne's Gray and a little White.

All right now, the thing that I noticed on this arm, right in here, it's just a little bulgy.

So I'm good to take some of the Viridian Green and White, and I'll come carefully against the face a little bit there.

And I'm just bringing that in, just a little ways so it isn't quite just a bulge on the arm.

And underneath we have the waterfall, but we can spread this up just a little bit.

This will all create the illusion of space.

Gosh it's nice to have that extra time to do the careful work on this.

All right, on the arm, edge of his sleeve, we have some nice blue.

Let's see, what kind of blue are you?

You are the right kind.

Whatever you are, you are right.

This is Ultramarine Blue and White, about equal parts.

I don't like that, I want some-- are you Phthalo Blue?

Yes.

Get on the bus.

Your day today is to play the game.

Oh, I like that better; I'm glad I took the time.

This will go, and again, thinking of form, you come down partways so you feel like there's a change in gradation this way.

Okay, while we're down in that area, I'm taking a little Alizarin Crimson and I'm going to put just a little bit of seams on that, and a little bit here.

Oh, that's great!

That ball looks like it's never been touched.

So let's go ahead with the next thing, and that is, let's see, well, I'm going to go to the face of the father first.

I'll take a little bit of this golden tone which we already have up there.

And I want to come down just a little bit closer to him and a little bit lighter, and particularly out front.

I get a feeling that that is just a little-- oh, I like that better.

I like that better.

I hope it pleases you as well.

And we always welcome cards and letters, email from the viewers.

And you can even suggest, would you consider doing this on a show?

Then we'll look at what your suggestion is and see if we will, see if we'll be able to do it.

Now here, I'm putting the light behind, and I'm coming right along there.

Notice the difference between the light that I just put on and what is there behind it.

So we'll now blend just a little bit.

This helps create the illusion of some space between the subject, the man, and the back cliff.

I'm going to go down just a little closer here.

Okay, now what I want to have is just a small touch.

I think I'll use the Alizarin Crimson and a little Yellow and White.

So that's not a brush-mix, it looks like about half and half.

And I want to come up just a little bit on him.

See that little red that goes in there?

It will go in here as well, and a little bit on the chin.

It all helps just to make him look a little more human.

And maybe even a touch on the nose there.

There's a need for just a little bit of this color right in here so he doesn't have grandpa's double chin.

Okay, fine.

Now, I want to do just a little bit in the sky.

If you look at the original, and you look over here, I need to push this up just a little higher.

It's kind of coming down, it's almost like a storm cloud.

So let's make it not so.

This is Yellow and White.

Oh see, that's a better height.

And we'll soften, I think I can use some of this golden tone.

Yeah, let's put, this is Orange and Ocher... equal parts.

This is often what helps a sky a lot.

If you have near the sun, if you have just a little bit of a, whether it's pink or orange or so on.

I'm going to take and blend that a little bit with my brush, fan brush.

And in so doing the blending, notice how a little bit goes up into that cloud so it makes it just a little brighter.

We want my little grandson to say, "Dad the sun's in my eyes!

What do I do?"

Hit it anyway!

Okay, let's go down to the trees on the distant land.

I have, this is Viridian Green, and I have a little Umber, equal parts.

When I do this, I'll start low.

And as I come up, I don't want to have a sharpness on the edge because the sun is dispelling that, so I'll go very gently on the top.

Top!

This has a nice pointing help.

It comes right down to the boy, above the boy, and leads over to the coaching of the father.

More of it, and this time I can go just a little bit higher and have a little more accent.

So that's really equal parts of Viridian Green and Burnt Umber.

Look at the dark that that gives.

I'll go a little darker on that one too.

Gee, I think that's nice.

I was considering going up a little bit, just a little character, but a light touch so that you don't disturb the, well, you don't create a contrast that your eye goes there instead of where we want it down with the boy.

And then there's just a little bit of that on the edge here.

So these are near trees.

I play softball with my good friend John Harris.

He would have to hit the ball over there, and he'd say, Buck, you hit it over there.

So he is so good, so powerful.

All right.

What else do we do there?

Maybe a little pure Umber.

Wait, I need to ask you.

Are you pure?

I think so, Grandpa.

Let's take some Van Dyke Brown, it'll be just a little darker.

And a little bit there.

See, when I put that in, it sort of takes care of the need for any extra light to be put on that.

The only thing I would probably add would be just a little Umber and White, equal parts, just to go a little higher so you can follow that up.

Is there any more needed?

Maybe a little one down there.

And the other thing is, we want to show the bottom of that rock.

So we can use this.

This is Payne's Gray and the Purple and White So it's Purple and Payne's Gray equal, then I just add some of it into the White.

This will give me a little bit of a feeling of the river edge.

That's nice, because it all leads toward the center of interest which are the two ballplayers.

Sometimes just the smallest accent.

I'll take a little, not quite white, but just a little touch, just a little bit, like that.

And I could even do that out here.

That didn't do anything.

Let's let this come down, this will be better anyway, so we have some of this showing as reflections in the water.

Some things happen, and you're not even planning on it, and it works out so well!

Gee, that's great.

Okay, let's see on the right side.

We can use a little bit of the Umber and Viridian Green.

And I'll use just a little Walnut Oil with it.

I need to go darker, so I'll have more of the Umber.

Actually it should work, equal Umber-- yeah, this is working-- and the Viridian Green.

I'll push just a little bit towards him.

And this edging here-- we'll sort of slant it like it has the formation of a cliff... rather than being just straight up and down.

Okay now, I don't really dislike the distant hills.

Out of the corner of my eye I saw this and thought I need to blend that just a little bit more.

So when I look at this, that looks pretty good.

I guess if I wanted to say okay, make it just a little bit more like the original, I'd take some Orange and White, equal parts.

Let's see, if we put just a little in there, it'll kind of give a little vitality here especially, because that's the edge of the cliff that's responding to what's happening in the sky.

Let's see, what else do we need to do right now?

I kind of like the idea of having just a little stronger-- and this is the Purple and Payne's Gray-- just a little stronger.

Yes, you can see that, can't you.

That'll give it just a little better feeling.

And I'll go up a little higher.

Um, that adds so much more strength.

So you're going to have a good foundation for this father to rest upon.

And I need to bring this in just a little bit so he doesn't feel like he has a pot belly.

And I need to have a strong line here.

This is just a little curvy, so if I have a strong, straight line, it will be just that much better.

And notice when I do this, particularly on this leg, I put this on, I have some light on there, but I retain a lot of what you might call the middle value.

Just work up a little bit into the little wrinkles.

Same way here-- just pull into the wrinkles slightly here just a little stronger there; a little stronger here.

I like that very much, I'm glad we had the time to do it.

A little bit more in here and down here.

The down here, we're just sort of staying on the back.

The minute I say that, I come up front with it too.

So I have it on both sides on the leg.

It's been so great doing a show that takes three times.

It allows us to really work it carefully.

Okay, on his hat, let's go up just a little bit higher, maybe just a little, and when I say a little, just angling it a little more straight so it wasn't too slanted back.

And come over here.

Oh, I like that much.

It looks like we've got a bird out there flying, and that probably was on the fingernail.

Bye-bye birdie.

Now the small thing, but I have the green.

See this line?

I need to bring it in just a little bit so you feel like he has a chest, So I'm bringing it in just that much.

Ah, hit one for me!

Hit one for me.

Let's just curve his head, hat, just a little bit.

Show me how, Daddy, show me how.

Okay, we'll see you next season, next game.

Oh, it's been great.

Thank you for watching.

Bye-bye.

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