One thing I like about painting-- it is always in season and you do not have to bait a brush with a woooooorm!

[piano plays in bright rhythm & tone] ♪ ♪ ♪ ♪ We're into part 2 of "The Fisher Boy."

As you recall, we did a little bit of acrylics then we went on with oils on part one.

So part one was a combination.

Now we're going to complete it.

And I'll show you the original.

This is "Fisher Boy," he's bent on doing his business, which is hooking a little worm and this is again, in Pennsylvania right near to the Wyeth museum.

Wouldn't Andrew Wyeth loved to have seen that little scene there?

Okay coming over to the canvas we're working on, we've put in the water, we've put on some foliage next to the water and we have some general foliage on.

Put a little wash on the hair.

We have put a wash on the face, so to begin with we're going to take and wipe just a little bit so we can work into the surface.

And you see as we wipe, that what is left looks a little bit like a shadow.

It'll look more like a shadow when we put highlight on top.

The wiping does two things.

It gives a little start on the form and it makes it so when you put the paint on, it goes in a dry area, and it's a little easier to control.

Just touch the fingers a little bit, we'll come over, not much on the knee.

A little bit there, a little bit on this shoulder.

Again, the light is coming from upper, upper right, so it hits on the hair, then it shows on the arms correspondingly where it should strike.

A little bit on the forearm.

Again, I don't really have to have anything come off.

I just want to make sure that what I'm working on is basically dry, so that the light, you don't need much and it will really show out.

Okay, let's go ahead and start putting some of that paint on the flesh.

The flesh color on the flesh.

I dipped in the walnut oil only to clean the brush and this is Alizarin Crimson, Yellow Ochre and white.

So we'll put this on the shoulder.

You know, when you paint enough of these shows, you can hear the director even without hearing the director.

"Move back Buck so we can see you!"

When that's on, and that gives me what I want, but that needs to be finalized and that's taking a little brush, blending it towards the light, or excuse me, towards the dark.

So the light is very clean and pure.

See that nice form that you have on that?

And if you always have in mind, what am I working on?

If you're working on a rock, it's hard.

If you're working on flesh, it's soft.

So that determines so much, just that it feels right.

As we come down, still the same color, same brush.

As we come down to the forearm... ...we'll put some on there and I'll just run quickly down to the palette and I'm putting a little bit on this finger.

This is such a nice lead finger, that little light right on the edge there.

Just a little bit on this one.

While I have the paint on the brush, and with oils, you can place it on, which I recommend, and then come back and blend it.

With acrylics, you sometimes have to be a little bit faster with the blending.

So you can't place a lot of paint on before you work with it.

Okay, those are the fingers, then you have just the knuckle line right here.

Before I do any blending, let's do what we said about putting more light on other places.

This will be another one.

Often, I'll put light on like this and let it set awhile, wave, highlight on waves, is called to my attention.

Because the more it sets, then you have a little more control with it.

Here I'm very aware of putting some light on and then having just a little bit of character in that outside line.

See, it curves a little bit.

Curves a little bit, and then curves down here slightly.

Okay, now we can go ahead and blend some of that.

You saw the blending in the biceps over here, so now we'll come down, this is the forearm.

Sounds like a golfer-- "Give me that 4 iron!"

I come up and I make sure that I go right over that line, so it's softer.

Now look look at this, before I come, well, let's go ahead and blend these, the fingers.

When I blend those I need a smaller brush, so I'll use this one that I applied the paint with, but then we're just kinda pushing it around.

None there, but just a little kinda push in there so it's not quite so dark and it's not the lightest light either.

You still are working into that wet Raw Sienna look.

The color we put on last week.

Let's do the same thing here, let's come around here.

We put the highlight on, we blended it, but let's just stretch it a little closer to the shadow.

It'll look just a little more youthful when you have a lot of light fall on that.

Going over to the other arm.

Blend, blend, blend.

Now how far do we want to come down on that?

Not too far.

And as we come down to the forearm, then, we'll blend, blending down towards the wrist.

I'm using the same color, but because it has less of it, you again can accept the feeling that there's form there.

Down to the knuckles.

Knuckles, just soften around it so it stays a little sharper and then the little fingers.

Just I'll work this way, hoping you can see it all right.

Nod your camera if it's okay.

It's okay.

On the face, you can see that if you look at the original, you don't have a lot of highlight on there.

So what we will do instead, we'll take a small brush and very little paint.

This is Cadmium Red Light.

I'm pushing that into the flesh color, and we'll come with this just on the edge here.

Just on the edge of the cheek.

Can you see that all right?

Put a little bit on the nose, just the edge of the nose.

A little bit under the eye, which will be on the cheek, again, what I'm doing this time is kinda placing it on and then we'll blend it.

Right at the chin.

It's so helpful that you've done it correctly that even though you don't blend it, it looks natural, doesn't it?

Again the cameras in the room moved, in a vertical fashion.

Softening with just a dry brush.

Oh, I love the fact of painting somebody in the attitude of work or play.

And they're not conscious that they're being photographed or painted.

I'm going to take the same color without any extra paint, see, I've just worked it a little bit and just a little bit under the nose to soften there.

You get such spontaneity, such a purity of action, unposed.

Now in the ear, I'll come back with Raw Sienna and the neighbor is Alizarin Crimson.

Surprising how dark that is.

It's in shadow and you have just the edge of it receive a little light.

The light we're going to put on is that same red worked into the flesh color.

We put this on the face and we'll put just a slight bit on the corner there.

Now, let's go to the bottom legs, "the bottom legs."

Not the upper legs, the bottom legs.

And I'll first start with just a little you're Raw Sienna, and I'm gonna jump over here to Burnt Umber.

This will make just a little more darkness down there.

[jokingly] Please, do what I say!

Become darker!

Then there's just a little bit of light up above.

This would be where we would use the same light color we used on the face, but I want to kinda wipe it off so there's not much paint on the brush.

That's the knee bone.

I'll come down under here a little bit.

I notice down here, just along side on that leg, then we have a little on the shin.

I'm going to use a smaller brush so we put a little bit on the calf of the leg and then we have a little bit on the shinbone right there.

That, I really like that!

I take some of this red, I go up a little higher, right in here, just to kinda tint, put a little life into the flesh color that's there.

We can do it on this side a little bit too.

Just a little bit, soften it in.

Okay, let's go to the hair.

And for those that have hair, you know how to do it.

For some of us that may not have as much, we kinda need to do it from memory!

Let's take Raw Sienna and let's take white.

Raw Sienna and white.

Remember the term that I use, "build to the lights?"

So we've put on, we have some of this light to go on, okay the question I want, I ask.

Do I want to wipe where I want the lightest light?

Will it work better if I do that?

So that the paint goes on just a little more dry and will retain more of its energy, its vitality.

So I've done that.

And it's just a simple thing.

What does hair look like?

"It looks like hair."

Oh, okay.

Let's touch down, so you get rid of that helmet look.

I have a great friend, Bob Dambach, he wanted to know if I was painting a little soldier!

So hair can start out looking like a helmet, but then you add the character into it.

It flows and you come from the crown of the head.

Okay that starts it.

I could have, before I put on the lightest lights, let some of this even be off just a little bit soft and misty and we'll see what we do when we put on the lighter light.

This comes in, it cuts into the ear a little bit, so the ear doesn't have a lot of distinctness.

Okay, what do we put on for the lightest lights?

Let's try some Yellow Ochre and white.

I'm not sure if that's going to be my lightest light or not, but it will certainly build to it.

And this is on at the crown.

Yes, I can see the minute I put this on, I can even go lighter.

So going with form, of course, I will be lightest at the top where the light strikes.

Let's put just a little spindrift up.

Okay, now pure white.

Basically on using pure light, if it's working into something that's wet, then I can say yes, I will do that.

You have to be a little, this would be just like doing on a wave.

If you build to the wave, then the whites all right, but if you start with the white, you end up with ice.

Go Ice fishing!

Okay, let's call that a blond boy.

Now we'll come down, we'll just come right down with the red.

Let's see what brush do I have?

Flat one?

Okay, this is cadmium red light.

Now, watch what this does.

I want this to be pretty dry, so there's nothing on the shirt except the acrylic.

You'll find each of these strokes just, oh, don't they have vitality?

And what you leave, you notice I've left a little bit of the acrylic showing there?

It becomes the shadow between the shirt and the neck, and this comes up closer to the chin, so there's no line between those two.

And that shows the chin actually is having a reflection of some of the light shirt color.

And we come around the arm, leaving a little bit of a line so that you feel you can just see the edge of the shirt.

And then this swings out here just a little bit.

Under the chin, I want to remove a little bit, because that would be going into the shadows.

We'll have a little bit on this side.

When I say "a little bit," much less paint so it doesn't have the vitality of that which is in the light area.

Just a touch of white, now the white, I've picked up the white.

I've over to, with the red.

And this will give us truly an indication of the light coming from above and it will also just arch up slightly so that the shoulder is more correct.

Oh, I better put just a little more red there, come right close to the ear, so you're, no blue in-between the two.

All right now, let's go down to the slacks, and what we'll take, these are jeans.

This is Thalo Blue, no you're not you're Turquoise Blue and some white.

I'll put this right on the edge.

We had a tone on the priming that looked very close, it looked like a highlight already, but this will give it just a little bit more.

And you realize in doing the paintings in the 24 minutes that a lot of the refinement would still need to be added to it.

This shows you the steps towards making a fine painting.

You just take a little more careful steps.

Okay, I think that's all right.

Now what I want to do, I want to go out into the grass.

And this is, what are you?

You are still Turquoise Blue, a little bit of green, let's put just a little umber in there.

We'll put this on to indicate some shadows in the grass.

We put the grass on last week as an overall local color, you call it, which local color meaning it is the color minus lights, minus shadows.

Just what color is it?

Then we're adding shadows, then we'll come back and add a little bit lights.

We want a lot down here.

This helps frame the painting.

Do you realize that as we dark up in the corners, then we have dark at the bottom of the canvas.

It focuses very much upon the subject, which is the little fisher boy.

We want some shadow from this rock over towards him and then we want, what do we want?

A little bit there, over in here.

Okay, we're in here.

Let's do just a little highlights on that.

We'll take white, we'll take yellow, we'll take Permanent Green Light.

I need more yellow, boy I go fast.

I hope you're on a wide shot.

This is some of the lights we spoke of.

It's working into grass that is, or into green, which is the grass, which is already wet.

I wanted to put a little work on the rocks, then we'll hit the little basket and then fishing season is over!

This is Burnt Umber, and I've put it into the green.

This becomes the side of the rock, that's why we have that.

We'll just put in the side of the little tackle box, little bit on the inside of it.

Coming over to the far right, a little bit under the rocks.

He has a rock near him.

There's also a rock up on the upper left and there's a rock right here.

Now, on the highlights on the rock, lets take a little, this is white and I'll use a little Alizarin Crimson and a little blue.

See what you give me.

You're going to use some of the blue showing through the priming of the canvas as a help.

I'll put some of this on that will need to be blended soon.

there's some over in here.

I need to go down, this on the right side the rocks have a little more of the pink cast to them.

Okay, before I leave with that color, I'm going to take some of the rock color, which we used the blue, and the white and the Alizarin, and put just a little bit on the inside of the little tackle box and you can use a lot of the color of the priming for your outer color.

Little bit in here.

There's one in here.

Then what we'll take is outline those just a little bit.

Yellow and white.

I'll just start one.

Outline, that just puts a top edge on it so you know the direction of the light from above.

None there.

So that would be enough on those.

This one we, remember we corrected the perspective.

The little, we have little hinges there.

I'll put just a little blue and white on them, not much.

Hinge, you're becoming unhinged!

A little light right on the edge of this lower one, that'll be nice.

This yellow and white, just a little bit there.

Just on the corner.

Do a careful job when you do that.

I'm rushing just slightly.

Then we'll brush this around.

I had just a little red on the brush and I'm thinking oh, that's so great, I'm glad we did that, and silently I'm saying, what in the world have you done Buck?

It worked for us.

Over on this side a little bit.

Then of course, you want to kinda take some of the grass, and I'll take a fan brush.

Let's see, you had grass on you, so we'll keep you.

You want some of this to come up over the rocks too, and it even moves a little bit on that tackle box.

Oh, I hope you have enjoyed the 2-part series, "The Fisher Boy."

Because he is something that you can paint.

You can put your little child in it, or you can do as it is.

That's fast, but boy, daylight was coming and we needed to get the boat back to shore!

As we go away, we'll just mop just gently.

Even, you know, even mop the red.

So there we are!

I hope you've enjoyed "The Fisher Boy."

I've shown you the recipe.

You take and do it very carefully and let me see what you do.

Send me an email.

I love seeing your work and hearing from you.

Thank you so much for watching the series.

Bye-Bye.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ (woman) Funding for "Painting With Paulson" is made possible by...