Bob Ross's

The Joy of Painting

S03E13 - Peacful Waters

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Son of a gun.

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Can you believe it?

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Here we are on the last

show of the series.

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You know, when we did the first

series at the end of it, we had my

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son, Steve, come in and read us some

questions and we devoted the whole

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show to a question and answer period.

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And in that show, we

tried to show people that.

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Way to correct the most

common problem areas.

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So I thought we'd do that again today.

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Only this time I'm

going to take life easy.

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I'm going to read the questions and

I'm going to make my son Steve paint.

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So I'd like to introduce you

today to my son, Steve, Steve,

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glad to have you with us all.

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Thanks Dan.

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Okay.

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Let's get right in here and, and,

uh, maybe we can get started.

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First question.

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Dear Bob, what is meant by use criss-cross

strokes to make this guy, do you use

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crisscross Turks to make the water also?

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Okay, well, let's just go right up here

to the canvas and I'll try to show you.

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Okay.

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Steve float a little blue into your brush.

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What do you got there?

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Little day, low blue.

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Okay.

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Now let's go right up to the canvas.

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There we go.

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And did you notice he's using both

sides of the brushes and his chest

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making little exes, just back and forth.

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By using both sides of the brush, we

issue an even distribution of color.

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The canvas has already been

covered with magic white.

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So it's picking that up and

automatically, as it goes down toward

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the horizon, it gets lighter in value.

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Now, Steve, the other part of

the question is, do you use Chris

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cross strokes to make the water?

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No, we do not.

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There.

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We use strokes that come from

the outside and Steve, why don't

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we make a little bit of water?

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They're just coming

from the outside in and.

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Okay, he's going to add a little

bit of theolo green to his color.

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Just a tiny bit.

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Now pull from the outside.

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Yeah, there we go.

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And we want water to be

level if it's still water.

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So by coming from the outside

in that happens automatically.

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And if you leave a little area open

in the center, when he pulls from

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the other side, when the painting's

finished, that'll look like a sheen,

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like gliding across the water.

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There we go.

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Now, Steve, why don't you take a clean

brush and just blend all that together

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for us and we'll see how that looks.

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Okay.

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Now he's just using a clean, dry brush,

still using a little crisscross strokes

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and limiting the scatter together.

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And you can blend it to

any degree that you want.

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Now, when you're doing this at home,

you don't want to kill all the little

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actions that happen up here in this guy.

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See this blended too, about

like he has it now on the water.

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All we do is take and use very

long strokes and go all the

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way across it just gently.

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We don't want to lose that

light area in the center.

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But you can bring it together.

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That's it.

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See how that's coming right together.

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Okay.

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Well, let's go right along here

and go to the next question.

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Also, if there's any questions

that we don't answer during

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this show, drop us a line.

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We'll be glad to try to answer almost

any question that you can come up

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with as long as it's not too personal.

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Dear Bob.

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How do you make those fluffy

little clouds using the fan brush?

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That was really our nice clouds.

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And let's see if we can get

Steve to demonstrate once

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again, how to make some clouds.

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So Steve, why don't you

load your fan brush?

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Hold your pallet over here so

we can see it and let's just

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load it full of there you are.

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So you have a full he's getting

this a lot of titanium white.

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Okay, good.

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Now you was just the corner of the brush.

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There I see how he's using just the corner

and all you're worried about Sinatra top.

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So he wants you to put one more

little cloud over here on the right

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side and clouds need friends too.

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Here we go.

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And all you're looking for is

a basic shape at this period.

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Don't worry about it too much.

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Okay.

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Now with a large brush, we can just

blend the bottom of it out a little bit.

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Just the corner of the brush.

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Don't use too much of the brush and

you make little tiny circles, little

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tiny circles, and then fluff it up.

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And hypnotize it.

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So you have simple.

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That is okay.

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Let's do the other one here using

just the corner of the brush.

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A little tiny circles.

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Just blend the bottom of it out.

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Okay.

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Now fluff it up and hit metastic there.

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Super.

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Steve.

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Thank you.

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All right.

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Let's see here.

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What's the name?

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Oh, we're not going to

read that one on TV.

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We'll just, we'll set it

aside and go on dear Bob.

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I'm having trouble putting

the snow on the mountains.

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Can you help me?

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This is probably the most

common problem we run into.

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Probably the biggest mistake made is

applying too much pressure when you're

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putting the snow on the mountain.

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So maybe we can get it, go back to

the canvas and get Steve to drop us a

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little basic mountain shape on here.

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We can actually see the

highlight happening, close up.

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Steve, what color did you use

there to make your basic mountain

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blue, Brown and Elizah and Crimson.

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Okay.

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You go and you use very, very

firm pressure when you're putting

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this basic shape off, really,

really push it into the fabric.

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And all you're worried about is just a

nice top edge that you could care less.

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What's happening underneath.

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Now.

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Let's take the big brush and

we can just blend that red out.

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Okay.

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What Steve's doing there is scraping

all the excess paint, less paint.

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You have the, yeah, we're

just pulling it mountain out.

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This does two things.

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When you pull it out.

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It removes more of the excess paint.

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It makes the next step easier and

it allows the mountain to blend.

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As it goes down, items are

always more distinct at the top

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than they are at the bottom.

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If you can see the entire mountain.

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Good.

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Okay.

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Let's use a little titanium

white there, Steven.

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I think that'll show up contrast better.

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Okay.

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How would you turn your knife over?

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And let us take a close look at it

here and let's see what you have

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a way of paint sort of rotated

a little bit so we can see it.

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Good.

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So he has just a little paint

right on the edge there.

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Okay.

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Now just barely touch.

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Here's where the problem happens.

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People use too much pressure use.

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Absolutely no pressure.

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All it is is just the weight of the knife.

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And in your mind, and think where

light would strike the mountain.

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There, it looks like he's going to have

a little peak back in the background.

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This one's going to come

all the way through there.

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Good.

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We'll have some character

in this mountain.

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You know what Steve's doing that?

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I'll tell you a little bit about him

because I don't think he'll tell you.

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Steve's 18 years old.

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He travels all around the country with me

teaching his fantastic method of painting.

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He's also a black belt in karate.

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That's all.

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Yeah.

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It's, it's good to have

some protection with you.

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Okay.

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Now he's mixing up his shadow color.

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He's using a little bit of blue and

white, just oppression, blue and blind.

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And one of the big things here.

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When you started doing it, your mountains,

you have to make all my decisions.

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This little peak here.

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Is it in the background?

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Steve?

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Yeah, the little wooden . Okay.

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So we'll just.

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Push him right into the back.

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When you go make them all, you're going

to make them all in the background.

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It's fantastic that you

can change your mind right.

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In the midstream.

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Yes.

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And I noticed the angles here

angles are very, very important.

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There we go.

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Okay.

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A little bit of shadow

on that little peak.

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Now, if you wanted to create a little

miss there, we'll get Steve to wash

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your brush real quick and show you

how to create a little bit of a mist.

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Okay.

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Now I'm in a dangerous position here.

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He's going to get me.

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Okay.

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Now when you create this mist,

all you do is just barely tap.

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Just gently, gently tap there

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and always follow the angles

in your mountain left upward.

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This takes out the tap marks and

softens creates the nice Misty areas.

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Beautiful Steve, absolutely.

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Beautiful.

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Okay, well, let's go to

the next question here.

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The next question is, uh,

I'm having trouble making the

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little foothills that you have.

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This also is a pretty common problem.

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And we'll try to show you

right here, how to do it.

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The first thing you need to

do is mix you up some color.

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And I think Steve's going to use a

one inch Bryce today to district to

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demonstrate this, but you could do it

with a fan brush, the two and a half

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inch brush or the one inch brush.

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Whichever makes you happy.

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So let's watch Steve.

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Okay.

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Steve's mixing up a,

what are you mixing it?

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Blue, Brown and white

blue, Brown, and white.

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Okay.

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On the one inch brush and you notice

he's just mixing it on the brush.

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That way you have a multitude

of color happening on the brush.

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Okay.

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Now, if we can get a closeup

here and watch what he does, he's

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just barely tapping the canvas

and making a basis there and put

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some character in your foothills.

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Don't have them just come straight

across, notice all the little Hills and

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bumps and valleys he's got in there.

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It makes you painting a

lot, a lot more interesting.

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Super.

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Okay.

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Here.

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He's just laying in his basic

color and this is just tapping.

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All he's doing is tapping.

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There's several different ways to make it.

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You can use the brush vertically

and pull downward and it makes

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very nice foothills also.

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Okay.

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Now he's going to lift gently up

and make it look like little trees.

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Maybe that's we lead back

in the distance somewhere.

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Very soft and quiet.

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When you do this use very, very short

little strokes and do it in layers.

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Notice how he's working downward.

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Good, very, very nice tasty.

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While you had that going, uh, You're

not quite finished yet, I guess.

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No, I think I'll drop one more row in.

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Okay, good.

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That'll show us how to

create depth in the Foothill.

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What he's doing is darkening the color

a little bit as these little foothills,

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get closer to you, allow them to

get darker and that helps create the

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illusion of distance in your painting.

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Once you have a little bit

more Brown and blue in there,

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just a little bit worn, both.

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Okay, go ahead.

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Now, while he's got color on the

brush, he could add a little bit

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underneath, just a tiny bit and

that'll help curried reflections

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then might as well go ahead and put

some beautiful reflections in there.

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All we have it now with a large brush.

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We're going to take and pull those

reflections day on just there.

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Now, when you're pulling these

reflections down, be sure you

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go straight down with them.

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It will disturb you terribly.

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If you take it and put them in an angle.

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Okay, pull straight down and then

very gently go across and that'll

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free the illusion of water.

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Okay.

258

00:11:41,560 --> 00:11:42,069

Super.

259

00:11:42,369 --> 00:11:45,310

Let's take a, take a look at

the next question we have here.

260

00:11:47,079 --> 00:11:52,719

Dear Bob, I can't seem to make water lines

with a palette knife, and this seems to

261

00:11:52,719 --> 00:11:54,760

give a lot of people trouble and I think.

262

00:11:55,814 --> 00:11:59,324

The first thing you should do is

put the magic white on the palette.

263

00:11:59,415 --> 00:12:01,334

Don't try to just dip

your knife in the can.

264

00:12:01,665 --> 00:12:04,275

If you do that and touch your canvas,

you're going to have a line that's

265

00:12:04,275 --> 00:12:06,584

a quarter of an inch thick and

it's probably going to be running.

266

00:12:07,215 --> 00:12:08,795

So put a little bit of the magic quite.

267

00:12:09,194 --> 00:12:12,435

On your pallet and pull it out

as flat as you possibly can get

268

00:12:12,435 --> 00:12:14,625

it just really mash it hard.

269

00:12:14,625 --> 00:12:17,895

So it's very thin on the

pallet and then take the knife

270

00:12:18,135 --> 00:12:19,875

and sort of just cut across.

271

00:12:19,995 --> 00:12:21,824

And maybe we can get

Steve to demonstrate here.

272

00:12:22,574 --> 00:12:22,814

Okay.

273

00:12:22,814 --> 00:12:25,845

Steve and Steve mixed a

little bit of Brown with it.

274

00:12:26,535 --> 00:12:28,035

Now just pull the knife across.

275

00:12:29,535 --> 00:12:30,074

Very good.

276

00:12:30,675 --> 00:12:30,995

All right.

277

00:12:31,045 --> 00:12:32,355

Now she always had to make a water line.

278

00:12:33,925 --> 00:12:34,104

Yeah.

279

00:12:36,555 --> 00:12:37,875

Using quite a bit of pressure here.

280

00:12:38,055 --> 00:12:38,415

Yes.

281

00:12:38,444 --> 00:12:40,964

Just like you're trying to

cut a hole through the canvas.

282

00:12:41,295 --> 00:12:42,285

Just really cut it down.

283

00:12:42,324 --> 00:12:43,245

So it didn't there.

284

00:12:45,555 --> 00:12:47,535

And you could make this

waterline and go anywhere.

285

00:12:47,535 --> 00:12:48,015

You want it.

286

00:12:48,015 --> 00:12:50,775

You can go up down sideways crossways.

287

00:12:51,464 --> 00:12:55,365

The thing is, if it's still water,

these lines need to be basically

288

00:12:55,365 --> 00:12:57,675

straight or your water would

run right out of your painting.

289

00:12:58,365 --> 00:13:01,245

And it will really bother you when

you look at this painting later on.

290

00:13:02,569 --> 00:13:03,290

Very nice.

291

00:13:03,589 --> 00:13:04,310

Very nice.

292

00:13:04,989 --> 00:13:05,260

Okay.

293

00:13:05,260 --> 00:13:06,430

Let's go to the next one here.

294

00:13:09,010 --> 00:13:09,339

This one.

295

00:13:09,339 --> 00:13:14,349

You're like Steve says, dear Bob, can you

show me how to make an evergreen tree?

296

00:13:14,910 --> 00:13:16,260

Using the fan brush.

297

00:13:17,370 --> 00:13:21,569

Now evergreen trees can be made with a two

and a half inch brush, the one inch brush

298

00:13:21,630 --> 00:13:24,150

or the fan brush, all three work equally.

299

00:13:24,150 --> 00:13:28,020

Well, so you try them all and you find

one that's very comfortable to you.

300

00:13:28,020 --> 00:13:30,030

And that's the one I recommend you use.

301

00:13:30,480 --> 00:13:33,420

The fan brush will give you a little

bit more detail if you're looking for

302

00:13:33,420 --> 00:13:35,040

a lot of little limbs on your tree.

303

00:13:35,730 --> 00:13:37,650

So let's see if we can get

Steve to make us one here.

304

00:13:38,655 --> 00:13:41,505

Steve, what color are you going to use

to make your evergreen using a little

305

00:13:41,505 --> 00:13:45,345

bit of SAP, green, Vandyke Brown, and

a little bit of pressure and blue.

306

00:13:46,335 --> 00:13:46,605

Okay.

307

00:13:46,635 --> 00:13:48,315

Now want to make us a nice dark tree?

308

00:13:49,455 --> 00:13:50,865

I want it to look black.

309

00:13:52,335 --> 00:13:52,905

Okay.

310

00:13:53,475 --> 00:13:58,575

Let's go right up here and notice he

starts with just a center line and then.

311

00:13:59,060 --> 00:14:05,080

Just using the corner of the brush,

just sort of work back and there.

312

00:14:07,390 --> 00:14:10,840

And that's basically how we make a

tree and you can add a little more

313

00:14:10,840 --> 00:14:12,220

to it and you can take away from it.

314

00:14:13,270 --> 00:14:13,960

This is your tree.

315

00:14:13,960 --> 00:14:17,680

So you have to make all my decisions

and you know, Steve, why don't we

316

00:14:17,680 --> 00:14:18,819

put another one right beside him?

317

00:14:18,850 --> 00:14:19,990

Trees get lonely too.

318

00:14:20,620 --> 00:14:22,060

We've got to give him a

little friend in there.

319

00:14:23,010 --> 00:14:23,970

I guess one, a little bit.

320

00:14:24,180 --> 00:14:28,470

That'd be a leaning on all right here.

321

00:14:28,530 --> 00:14:31,490

Maybe when that tree was just a little

baby, somebody stepped on him while he

322

00:14:31,500 --> 00:14:32,970

was down there fishing for that big trout.

323

00:14:32,970 --> 00:14:34,830

And he's got a little crooked his back.

324

00:14:37,200 --> 00:14:37,980

Very nice, Steve.

325

00:14:38,550 --> 00:14:42,720

Okay, let's go right on in here

and see what the next question is.

326

00:14:45,720 --> 00:14:46,230

Dear Bob.

327

00:14:47,615 --> 00:14:50,645

Can you show me how to

highlight my trees and bushes.

328

00:14:51,214 --> 00:14:56,645

I can't make the paint stick to the

canvas once again, a very common problem.

329

00:14:56,645 --> 00:15:00,245

And we've said it over and over in

this series, you need to start with a

330

00:15:00,245 --> 00:15:05,795

paint that is from, as you can find,

it should be very, very firm and dry.

331

00:15:06,214 --> 00:15:11,285

A good way to test your paint is to

take the cap off and squeeze the paint.

332

00:15:11,285 --> 00:15:13,354

It should stand about

that high above the tube.

333

00:15:14,270 --> 00:15:15,750

Roughly three quarters of an inch.

334

00:15:16,170 --> 00:15:19,290

If it won't stand up by itself like

that, chances are, it's probably

335

00:15:19,290 --> 00:15:20,760

too thin for this technique.

336

00:15:21,330 --> 00:15:22,560

So test your paint.

337

00:15:22,860 --> 00:15:24,540

There should be no oil running out of it.

338

00:15:24,540 --> 00:15:26,880

It should be a very dry from paint.

339

00:15:27,420 --> 00:15:31,410

If we start with a very firm

paint, then it's much easier to put

340

00:15:31,410 --> 00:15:33,720

highlights on because of thin paint.

341

00:15:33,840 --> 00:15:36,330

We can stick to a thick paint,

but you can't reverse that.

342

00:15:36,360 --> 00:15:38,280

You have to start with a very firm paint.

343

00:15:38,714 --> 00:15:39,194

Okay.

344

00:15:39,525 --> 00:15:41,625

Let's see if we can get Steve to

make us some little bushes here.

345

00:15:41,655 --> 00:15:42,765

He's already got ahead of us.

346

00:15:42,814 --> 00:15:44,084

Took the Liberty to go ahead and do it.

347

00:15:44,355 --> 00:15:44,594

Wow.

348

00:15:44,605 --> 00:15:45,045

All right.

349

00:15:45,464 --> 00:15:47,324

He's using the two and a half inch brush.

350

00:15:47,415 --> 00:15:50,895

It would also work with a one inch

brush and we just drop in some basic

351

00:15:50,895 --> 00:15:54,485

shapes here, Steve, where you got it.

352

00:15:54,824 --> 00:15:57,395

Bryce wants you to throw some color

in the water and we'll show them

353

00:15:57,395 --> 00:16:01,505

how to make reflections there.

354

00:16:02,314 --> 00:16:06,334

And all we've done is just dropped the

same basic shape right into the water.

355

00:16:08,300 --> 00:16:08,569

Good.

356

00:16:08,920 --> 00:16:10,100

What color do you use on that?

357

00:16:10,550 --> 00:16:14,959

A little bit of SAP green and

Prussian blue SAP, green impression,

358

00:16:14,959 --> 00:16:16,790

blue, very dark, very nice color.

359

00:16:17,240 --> 00:16:17,449

Okay.

360

00:16:17,449 --> 00:16:20,180

You want to take your brush and pull

those reflections down just a little bit

361

00:16:21,380 --> 00:16:23,000

and watch what happens when he does this.

362

00:16:25,699 --> 00:16:26,030

Good.

363

00:16:26,120 --> 00:16:29,480

I keep them on the end smaller,

so they match what's above it.

364

00:16:30,829 --> 00:16:31,250

Okay.

365

00:16:32,510 --> 00:16:33,730

I didn't clean the brush up here.

366

00:16:33,780 --> 00:16:35,089

We'll get ready to go right at all.

367

00:16:39,345 --> 00:16:40,995

Hey, I'm fixing to get splashed again.

368

00:16:46,755 --> 00:16:50,465

So if you noticed me having blue freckles

from now on you'll know why that hair

369

00:16:50,595 --> 00:16:54,495

just making a horizontal stroke across

it to give it a watery appearance.

370

00:16:55,335 --> 00:16:58,185

Why don't you drop us a few little trunks

and some of those trees there, Steve.

371

00:16:58,395 --> 00:16:58,905

Okay.

372

00:16:59,415 --> 00:17:03,225

And for that, we'll use the palette

knife, a little bit of Vandyke Brown

373

00:17:04,365 --> 00:17:06,165

and watch how he just drops them in.

374

00:17:07,710 --> 00:17:12,870

There and you touch and just

pull slightly to one side.

375

00:17:14,850 --> 00:17:15,150

There you go.

376

00:17:15,160 --> 00:17:16,810

Put some neighbor greetings to you.

377

00:17:19,550 --> 00:17:19,970

All right.

378

00:17:20,000 --> 00:17:22,790

Now, if you want to highlight

these little tree trunks, we

379

00:17:22,790 --> 00:17:24,200

use a little Brown and white.

380

00:17:26,595 --> 00:17:27,865

Just put a little bit of highlights.

381

00:17:28,305 --> 00:17:30,315

Now, our mountain tells us

in this painting, the lights

382

00:17:30,315 --> 00:17:31,905

coming from the right side.

383

00:17:32,295 --> 00:17:34,425

So we need to highlight the

right side of the trunks.

384

00:17:34,425 --> 00:17:34,935

Also.

385

00:17:36,855 --> 00:17:38,625

Why don't you put that first

stroke in the mountain?

386

00:17:38,625 --> 00:17:40,755

You've just determined where

your light's coming from.

387

00:17:41,685 --> 00:17:43,065

Everything else in this painting.

388

00:17:45,520 --> 00:17:45,880

Okay.

389

00:17:46,060 --> 00:17:46,450

Okay.

390

00:17:46,450 --> 00:17:49,420

Now the other part of the question

was, is, is highlighting these.

391

00:17:50,380 --> 00:17:55,450

So why don't we use a one inch brush and,

uh, let's show him Bureau close here.

392

00:17:55,450 --> 00:17:58,390

How to put some highlights on,

start with a little bit of magic,

393

00:17:58,390 --> 00:18:00,340

quite that thins, the paint down.

394

00:18:01,750 --> 00:18:05,200

And what do you use in their steam

or into a little bit of yellow ochre?

395

00:18:05,385 --> 00:18:06,135

Yellow ochre.

396

00:18:06,165 --> 00:18:06,465

Okay.

397

00:18:07,755 --> 00:18:10,065

And notice the amount of paint

he's loading into the brush

398

00:18:10,155 --> 00:18:11,955

and a lot of pain in the brush.

399

00:18:12,945 --> 00:18:15,465

Steve, why don't you hold a brush

right up here against this dark area.

400

00:18:15,465 --> 00:18:17,625

And let's show him real close

what the brush looks like.

401

00:18:17,705 --> 00:18:19,895

Okay, good.

402

00:18:20,105 --> 00:18:21,395

Look at the amount of pain in there.

403

00:18:21,395 --> 00:18:22,955

It's very, very full.

404

00:18:24,035 --> 00:18:24,365

Okay.

405

00:18:25,055 --> 00:18:28,265

Start at the very top because you want

that to be the brightest part of your Bush

406

00:18:28,265 --> 00:18:31,175

or tree begin laying in your highlight.

407

00:18:31,895 --> 00:18:33,575

And you need little patterns in here.

408

00:18:34,535 --> 00:18:36,035

Don't just throw them in at random.

409

00:18:37,245 --> 00:18:39,785

Now with the color that you pick

up on your brush, you can go back

410

00:18:39,815 --> 00:18:41,855

through the yellows that he's using.

411

00:18:42,415 --> 00:18:43,915

And sort of change it a little bit, maybe.

412

00:18:45,265 --> 00:18:45,715

Okay.

413

00:18:45,775 --> 00:18:47,155

Why don't we go and do

it here right there.

414

00:18:47,155 --> 00:18:48,385

You drop a Bush over here.

415

00:18:50,445 --> 00:18:50,745

Okay.

416

00:18:52,605 --> 00:18:53,385

Isn't that a beauty.

417

00:18:54,525 --> 00:18:54,765

Okay.

418

00:18:54,825 --> 00:18:58,695

Why don't you add a little SAP green

to that, unless let's see what we get.

419

00:19:01,695 --> 00:19:01,935

Okay.

420

00:19:01,995 --> 00:19:04,575

A little more of the magic

white, then the paint down.

421

00:19:09,900 --> 00:19:10,080

Okay.

422

00:19:10,080 --> 00:19:11,160

Which one are you going to do now?

423

00:19:12,060 --> 00:19:15,990

Oh, probably the one on the end there.

424

00:19:16,440 --> 00:19:18,210

Once again, it goes

slightly above the dark.

425

00:19:18,210 --> 00:19:20,100

You don't want any shadows

on top of the bushy?

426

00:19:23,730 --> 00:19:24,020

Okay.

427

00:19:24,090 --> 00:19:25,290

Maybe try something different.

428

00:19:25,980 --> 00:19:26,370

Alright.

429

00:19:26,490 --> 00:19:26,880

Why don't you.

430

00:19:27,330 --> 00:19:29,640

Put us a couple more little bushes

in there and let us see close

431

00:19:29,640 --> 00:19:33,650

up and we'll go right along here

432

00:19:38,640 --> 00:19:39,800

with a little bit of orange in it.

433

00:19:40,820 --> 00:19:41,150

Okay.

434

00:19:42,620 --> 00:19:43,190

Very nice.

435

00:19:43,850 --> 00:19:45,680

And notice how he's layering these bushes.

436

00:19:45,710 --> 00:19:48,320

This is what creates

the depth in a painting.

437

00:19:48,830 --> 00:19:51,590

It's most important that

you layer these bushes.

438

00:19:53,045 --> 00:19:53,615

Here we go.

439

00:19:56,885 --> 00:20:00,475

Now she takes a little, that same color

and reflected right into the water steam.

440

00:20:00,505 --> 00:20:01,015

Okay.

441

00:20:01,295 --> 00:20:01,495

Okay.

442

00:20:02,515 --> 00:20:06,025

And here you just reverse the

brush and just put a basic Bush

443

00:20:06,175 --> 00:20:07,675

tree right down into the water.

444

00:20:08,530 --> 00:20:09,220

Very gently.

445

00:20:09,460 --> 00:20:11,080

You don't have to use much pressure here.

446

00:20:16,870 --> 00:20:17,280

Okay.

447

00:20:19,680 --> 00:20:19,889

All right.

448

00:20:20,280 --> 00:20:21,660

Son of a gun is quite a painter.

449

00:20:22,379 --> 00:20:26,310

I better watch it or he'll be on

TV and I'll be home by myself.

450

00:20:26,730 --> 00:20:27,320

All right.

451

00:20:27,679 --> 00:20:32,030

Now we can take a large brush

and pull down very gently,

452

00:20:32,980 --> 00:20:35,919

three hairs and some air there.

453

00:20:38,649 --> 00:20:39,189

There we go.

454

00:20:39,189 --> 00:20:44,320

Now just go cross and a gentle horizontal

stroke, and it creates the illusion

455

00:20:44,320 --> 00:20:47,710

of reflections that fast, that easy.

456

00:20:48,669 --> 00:20:49,149

Okay.

457

00:20:50,290 --> 00:20:53,290

Another problem that people

run into quite frequently.

458

00:20:53,900 --> 00:20:55,370

It's putting land in.

459

00:20:55,880 --> 00:20:58,670

So I'm going to have Steve take

a little bit of Vandyke Brown on

460

00:20:58,670 --> 00:21:01,610

the palette knife and show you how

to lay some land underneath this.

461

00:21:02,270 --> 00:21:02,780

Okay.

462

00:21:03,020 --> 00:21:03,830

There he goes.

463

00:21:04,520 --> 00:21:05,720

We've got a little bit of Brown.

464

00:21:06,320 --> 00:21:08,780

He starts at the small

end, just barely touching.

465

00:21:10,825 --> 00:21:14,005

And notice how he follows the

angles here, the lay of the land.

466

00:21:14,605 --> 00:21:21,415

That's very, very important that

you follow the lay of the land and

467

00:21:21,415 --> 00:21:23,155

let it get larger as it goes back.

468

00:21:23,155 --> 00:21:27,145

And this'll, this'll cause

you to look into the painting.

469

00:21:27,145 --> 00:21:29,665

It leaves the eye and to the

painting when you're looking at it.

470

00:21:31,300 --> 00:21:31,630

There.

471

00:21:33,840 --> 00:21:36,510

All right, Steve, I want you to

take a little Brown and white and

472

00:21:36,510 --> 00:21:37,830

make us a little highlight there.

473

00:21:38,010 --> 00:21:39,540

So this stands out a little better.

474

00:21:47,135 --> 00:21:48,485

What color do you use for your highlight?

475

00:21:48,485 --> 00:21:48,815

There?

476

00:21:50,245 --> 00:21:53,095

Just a little bit of Brown, a

little bit of blue and some white.

477

00:21:53,725 --> 00:21:55,405

And that was Vandyke Brown, I assume.

478

00:21:55,975 --> 00:21:56,155

Yep.

479

00:21:56,725 --> 00:21:56,935

Okay.

480

00:21:57,325 --> 00:22:00,955

Now to sort of clean this up a little

bit and straighten the bottom out and

481

00:22:00,955 --> 00:22:04,285

to separate it, we'll use a little

bit more of the magic white and make

482

00:22:04,285 --> 00:22:05,755

us a little waterline underneath it.

483

00:22:07,475 --> 00:22:08,675

Can you remember how we loaded?

484

00:22:08,675 --> 00:22:14,255

We just cut through it and Steve's

got a little magic, white and

485

00:22:14,265 --> 00:22:17,215

has a little Brown in it there.

486

00:22:18,745 --> 00:22:20,335

Then paint will flow off your knife.

487

00:22:22,465 --> 00:22:25,765

As he said earlier, you push

very hard, really, really.

488

00:22:26,510 --> 00:22:29,330

Just act like you're trying to cut

a hole right through the canvas.

489

00:22:36,790 --> 00:22:37,150

go ahead.

490

00:22:37,960 --> 00:22:38,320

Okay.

491

00:22:38,320 --> 00:22:40,480

Steve, why don't you run a

few bushes down that bank.

492

00:22:40,600 --> 00:22:41,200

Okay.

493

00:22:41,500 --> 00:22:43,810

Just to clean up at nice straight edge.

494

00:22:47,050 --> 00:22:49,960

And I think, uh, you turned

out a beautiful little

495

00:22:49,960 --> 00:22:51,040

painting here, just showing.

496

00:22:52,480 --> 00:22:53,800

The answers to the questions.

497

00:22:56,080 --> 00:22:56,830

There we go.

498

00:23:00,280 --> 00:23:00,610

Beautiful.

499

00:23:01,200 --> 00:23:02,370

That breaks up that long.

500

00:23:02,370 --> 00:23:04,860

The straight edge makes it a

little more pleasing to the eye.

501

00:23:05,760 --> 00:23:09,390

Now with a clean point of the

knife, we can just cut in a

502

00:23:09,390 --> 00:23:10,650

few, little sticks and bushes.

503

00:23:10,650 --> 00:23:13,120

So, so you just take the

point of the knife and cut in.

504

00:23:13,870 --> 00:23:15,340

Got some little sticks in the bushes.

505

00:23:17,409 --> 00:23:17,770

Okay.

506

00:23:18,189 --> 00:23:21,550

And you use a pretty firm pressure

here and just cut them right here.

507

00:23:29,760 --> 00:23:30,540

Okay.

508

00:23:30,840 --> 00:23:31,770

That's very good.

509

00:23:32,335 --> 00:23:34,915

Now do you know what let's do that?

510

00:23:35,245 --> 00:23:36,415

Let's take a second.

511

00:23:36,435 --> 00:23:40,065

It's a little Bush right here and show

them how far it'll push everything back.

512

00:23:40,065 --> 00:23:43,305

Just take one of your two and a half inch

brushes and drop us in some dark color.

513

00:23:43,305 --> 00:23:43,635

Right there.

514

00:23:44,655 --> 00:23:46,635

Just a small little Bush

right here on the corner.

515

00:23:47,565 --> 00:23:51,345

It's always interesting to see

how you can add one more plane.

516

00:23:52,445 --> 00:24:00,275

There we go just a little, one and

little Prussian blue and Brown SAP green.

517

00:24:01,895 --> 00:24:02,525

There you go.

518

00:24:02,585 --> 00:24:06,305

Just let it go down at an angle a little

bit there and make a little, okay.

519

00:24:06,665 --> 00:24:07,145

All right.

520

00:24:07,265 --> 00:24:07,775

Beautiful.

521

00:24:10,535 --> 00:24:16,085

Now let's show him real quick, how

to highlight those, and that'll give

522

00:24:16,085 --> 00:24:17,525

you one more chance to see how these.

523

00:24:17,899 --> 00:24:22,909

Things are highlighted the trunk

and there was some Vandyke Brown.

524

00:24:25,000 --> 00:24:26,470

Now we can put some highlights on here.

525

00:24:27,010 --> 00:24:29,649

Now, when you're at home, you can use

any color that you want to create.

526

00:24:29,649 --> 00:24:31,179

All these beautiful little highlights.

527

00:24:32,260 --> 00:24:33,909

We're trying to use

very bright colors here.

528

00:24:33,909 --> 00:24:38,590

So they show up well on your screen,

he's got a beautiful orange here it's

529

00:24:38,590 --> 00:24:42,909

made from mixing a little CAD yellow and

a little bit of permanent red together.

530

00:24:44,409 --> 00:24:44,770

Good.

531

00:24:53,420 --> 00:24:55,340

once again, layer these.

532

00:24:55,490 --> 00:24:58,910

So you have depth in them and

look how much distance already.

533

00:24:58,910 --> 00:25:00,260

This is creating in the painting.

534

00:25:00,320 --> 00:25:01,880

It really pushes everything back.

535

00:25:02,570 --> 00:25:04,190

It adds another plane to the painting.

536

00:25:09,745 --> 00:25:10,675

Green little yellow.

537

00:25:12,625 --> 00:25:13,345

Very nice.

538

00:25:16,755 --> 00:25:17,205

Okay.

539

00:25:17,275 --> 00:25:19,305

Few little sticks in there

with the point of the knife.

540

00:25:21,075 --> 00:25:24,165

And it's just a super way to show you

how to add another plane into a painting.

541

00:25:27,435 --> 00:25:27,765

Okay.

542

00:25:28,610 --> 00:25:30,860

Good let's do you, why do

you think of this painting?

543

00:25:31,639 --> 00:25:34,730

Well, I think it's pretty

good and it's very nice.

544

00:25:36,250 --> 00:25:39,080

Everyone has enjoyed watching

you answer the questions and

545

00:25:39,190 --> 00:25:40,389

do a beautiful little painting.

546

00:25:40,420 --> 00:25:40,659

Yeah.

547

00:25:42,139 --> 00:25:45,370

I'd like to close the show and take

just a few minutes of your time.

548

00:25:46,420 --> 00:25:50,620

And I'd like to tell each and every

one of you, how much we appreciate you

549

00:25:50,620 --> 00:25:55,240

allowing us into your home, how much we

appreciate you being with us each week.

550

00:25:55,780 --> 00:25:57,280

It's really a pleasure to be here.

551

00:25:57,795 --> 00:25:59,955

To try to teach you this fantastic method.

552

00:26:00,855 --> 00:26:05,295

I'd like to also take a few moments

and thank all of the fantastic people

553

00:26:05,295 --> 00:26:09,135

here at the station that have worked

so hard to make this show possible.

554

00:26:10,095 --> 00:26:11,625

They put in a great deal of time.

555

00:26:11,865 --> 00:26:15,585

They worked very hard and I think

they produce you a quality product.

556

00:26:16,275 --> 00:26:19,545

So on behalf of all of us here

at the station, we'd like to

557

00:26:19,545 --> 00:26:20,805

wish each and every one of you.

558

00:26:21,460 --> 00:26:22,300

Happy painting.

559

00:26:23,170 --> 00:26:25,840

God bless on behalf of my son, Steve.

560

00:26:26,650 --> 00:26:27,460

Thanks for watching.

561

00:26:28,420 --> 00:26:29,170

See you next time.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 22, 2020

S03E13 - Peacful Waters

Bob Ross's

The Joy of Painting

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