Bob Ross's

The Joy of Painting

S04E11 - Northwest Majesty

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Welcome back.

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I'm glad you could join me

this week and this week.

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I'm very excited.

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Cause I have a lovely lady here.

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That's going to show you

a fantastic painting.

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I'd like to introduce you

today to a good friend of mine.

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Diane Andriy Diane.

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Thanks for being here with us today.

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Thanks Bob.

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I'm going to turn Diane loose.

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She's going to do a fantastic

painting right here for you

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and I'll be back in a minute.

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Okay.

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Well thank you Bob.

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I appreciate that.

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Nice little introduction.

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Well, I'm the color I'm showing the colors

that I'll be using on the screen to you.

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Um, I'll start GN up here.

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I've coded the top half of the canvas

with magic black magic white and

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the bottom half with magic black.

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Now over the bottom of the canvas

where I have the magic black, I'm

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going to pick up some soft green and

with a lot of pressure, I'm going

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to work at the end, work it in.

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You're wanting just to leave

a thin coat of paint there.

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Dan coat, thin coat, thin coat.

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Okay.

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That like, so look it up a

little bit into the white.

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Okay.

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I guess it's a nice surface color to

work from, and I'm going to show up,

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be showing a lot of shadow in through

there and I've saw I've already have it.

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Okay.

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Going to go over to my palette and

I'm going to pick up a little mixture

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of Vandyke Brown impression, blue

equal parts, just to touch a color.

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Don't load that brush come up in here.

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Lot of pressure, a lot of pressure, a lot

of pressure, bring it down in to lights.

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One of the biggest keys when you're making

those clouds is to use a lot of pressure.

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So they come back in there with that

cloud color, it shows off, pulls off.

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Nice for a little more red up in here.

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Use a little bit of lizard Crimson

up in there and touch over there.

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Okay now take this nice diff fan brush,

pull it through my nice thick white here.

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Use a stiff brush when you do work

with this thick paint, pull it in there

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and let that paint pull off for me.

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Move it around, give it some power, grow

it in there and do keep that brush clean.

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Before I go back into the, um, the

paint I always clean and dry that brush

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real good, low both sides of the brush.

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Lot of pressure.

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Look at the bristles of that brush.

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Moving around, moving around, moving

around, back down a little lighter

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touch, or I want it to blend down

into shadow, down into shadow.

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Okay.

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We want it to be a little bit

brighter right up in here.

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Pick up a little more paint corralling

in there early to go out at the bottoms.

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Okay.

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Stick a clean our brush, going

to need a nice clean, dry

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brush when you hit Mathias.

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And when you hit Matteis keep in mind.

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Just a few hairs are touching

that paint so that the paint

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stays exactly where I put it.

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And all this does is take it down

into shadow and blends it into a

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soft, soft movement in through here.

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Look at that in that nice.

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Just stays right where I put it.

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Be gentle.

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No pressure.

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Okay.

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Now let's pick up the pellet knife

and take a little bit of that

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blue and Brown mix and add just

a touch of your titanium white.

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To lighten it up a little bit and

look how I mix don't over mix.

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He wants a nice

consistency of thick paint.

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Let's bring this guy right up in there.

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It gotcha.

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There always load your knife

by pulling the paint, get a

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nice edge of paint on there.

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Use a lot of pressure when you're putting

the undercoat of these mountains on.

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That's big to do back in and

out just into that scrape.

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You want it to lift all that extra

paint off of there because when you

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come back in here with your brush,

just a few hairs are touching that

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tint of blue under there, and the rest

of it's touching that magic white.

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I'm going to give it a

little bit of pressure.

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It blends right down into

a little bit of a fog.

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And through there.

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Sets that mountain right

back where we want.

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Okay.

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Now let's take a little

bit of shadow color.

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I'm going to use pressure and

blue and white, your thick,

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white, again, pull your paints.

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Pick up a nice little edge.

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Come back up in here.

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Gently, gently, gently touch

that knife to the canvas.

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I'll try to go as slow

as I can here for you.

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So you can see the pool of that

paint for the pain, for the paint.

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Well, the opinions, no pressure.

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That's the key.

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No pressure, no pressure.

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Let the paint do the work.

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Let it pull, let it pull mental.

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Okay.

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Pick up some sunshine color back in here.

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And we'll put some light up in

here on this map, but how that

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just pulls grabs off the thin coat

underneath and pulls right off.

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Or it wants to look at that.

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You can move it around

maybe down into there.

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Let's pull this guy up in through here.

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Okay.

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A little more back down here.

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Okay.

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All of a sudden you're seeing

some movement, always looking for

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movement and illusion, illusion.

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You can see this.

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Swoop this, this, that, that be creative.

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Be creative, one extra touch.

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And you're going here,

back in through here.

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Let's swing that a little, a little

flickers of paint fall off there.

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Okay.

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Now let's go back to our pallet

and load a one inch brush.

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With some green I'm using

SAP, green, Vandyke Brown and

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pressure and blue in equal parts.

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And then I tap off the edge.

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I'm getting that brush loaded a good half

the way down that with paint down that

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brush it's loaded back into the paint,

get the paint loaded from the inside out.

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Tap tap.

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I'm using a little bit of pressure.

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There's not much pressure in here.

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Tap, tap, tap, tap.

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No, I'm going to sit those

mountains back even further.

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Bring it in to happen in that.

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Okay.

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Now all I'm doing here,

people is I'm creating dark.

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So that when I come back in over this

dark with light, you'll see all kinds of

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illusions in here, right down in here.

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I'm just adding a little bit of

texture, a little bit of texture to

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play from my dark is already there.

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The beauty of using

that undercoat of black.

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The magic black is to

create the dark for me.

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So I don't have to go back and create

dark with pink a little more than Mark.

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Okay.

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Back to the paint on

the brush, open it up.

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It's come up in here with

something light touch.

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Let the paint pull from the brush.

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FIC is pulling off of the thin.

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Down into shadow.

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All right.

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Now let's pick one of these guys and

let's pick up a little bit of Indian,

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yellow, maybe a touch of will touch

a SAP green, just marble it in there.

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Oh, and some, how about some

CAD yellow and a touch of red?

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Marble it in.

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Okay.

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No again, whenever you're doing

highlights, you're loading the

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brush the same way you work.

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A lot of pain on the tip of that brush.

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Come back into your magic.

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Now we need a thinner consistency.

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So not only am I getting different

values, I'm also loosening that paint.

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So when I come back up in here

and lightly touch from the CIC

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paint bulls, the thin paint.

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Oh, look at that.

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Look at that pool.

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Isn't that nice.

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Actually they call it illusion.

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And I think it looks like the illusion of

hard work and it's not have a good time.

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I teach my students enjoy what you do.

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Look at that pool.

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Look, isn't that exciting.

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Don't back down in that, that, that,

that, that, that down into shadow down.

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And when I say down into shadow, that

means I'm filtering my light out.

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Lighter touch.

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When you do that.

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Now we're going to pick up a

little bit about CAD yellow and

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a touch of the permanent red.

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And I loosened it with some magic.

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Can I come up in here?

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Look how that color Springs from

the dark Springs, from the dark spur

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down into shadow, down into shadow.

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Pick up a little more of that more bed.

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Nice room.

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Tap it into the magic.

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Loosen it up.

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Look at that.

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Not a pretty, and you can see all those

different colors in one stroke of that

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brush by mixing your brush this way,

mixing the paint with your brush this way.

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That would be better.

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Okay.

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Tapper in pick a color,

any color, tap it in there.

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Ki dip it into the magic,

loosen it up a few times.

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Tap it in there.

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Come back up in here.

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Lightly touch.

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Lightly touch, lightly

touch down into shadow.

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Contented to shadow.

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Now look how nice those

lights play against that dark.

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Okay, let's pick up a little

Indian, yellow, tap it into that.

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Thick white.

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Well, I want a real nice, bright yellow.

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I get my color.

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Tip it into the magic and go with it.

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That's what a bright little guy just

assume his way through life looking

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real smug that got us sitting up

here in front, back into a color.

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Back into a code or look at that.

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I get excited every time I

paint one of these old dudes.

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Okay.

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Over here, maybe pick a little dismissed,

touched a little blue in there.

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Have fun with your color

that, that, uh, over here.

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Thought that.

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Okay.

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Let's see what we got.

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Oh, that's good.

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You never know where you're

going to come up with.

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I'm excited every time, look at that.

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Okay.

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Let's get a whammo color right there.

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That data, that data, I get involved

so much when I play on my palette

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that way, and I never get a mud.

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I never get mud for a color.

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As long as you keep the

brush open, loosen it up.

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Like I'm showing you.

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Yeah, fire it in there.

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Throw it, throw it through a tap.

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Tap light touch though.

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So what I'm teaching

you is that light touch.

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Okay.

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Now let's bring a few of those together.

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Let's take a little bit of your magic

white and just a touch, a color.

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Give a little color to your magic white,

but you want a real loose consistency.

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Pull your knife through, pull it in.

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Aha.

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Lot of pressure.

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Lot of pressure,

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little guys holding around in

here, don't make one line per item.

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Each will abortion each little tree, show

things running around and moving around

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them or in behind them or whatever those

lights showing on that dark will create

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the illusion of something happening more

than what you can see, how that light.

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At one of the line rounds, the whole

idea, you can almost see this moving

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in front one little stroke, then bring

a big guy up, pull that in there.

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But yeah, remember that loose paint with

a lot of pressure is pawn off for me,

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some backup and you know, people, you

don't always have to use the whole knife.

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A lot of times, I'm just using

the little section in here.

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Or I'll flip it over and use this

little end or I'll just shoot it up

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there with the whole side of the knife.

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Let me show you here.

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Let's just clip a little in, I'm just

using this area right here that you

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can move it a little more, something

back up in here, but it worked for you.

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Okay.

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Play with these things and make them

move these ideas I'm giving you today.

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Okay.

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Now let's take that.

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Brush, we had all those pretty

colors in and we'll load it again.

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Look at that little, this little

that drag it through those colors.

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Key lucid up with the magic.

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Like, so all you're doing

is loosening those colors.

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Come back up in here with the

light touch, tap, tap, tap,

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tap, tapping up at all times.

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Bring that in a little bit,

253

00:14:44,175 --> 00:14:46,395

and you can keep turning that brush over.

254

00:14:47,015 --> 00:14:52,155

I'm gonna turn it over a little more

color in through their little speed.

255

00:14:54,314 --> 00:14:57,795

And as I come down and I'm

unloading my brush, my touch

256

00:14:57,795 --> 00:15:00,824

gets a little bit more demanding.

257

00:15:01,035 --> 00:15:02,175

I hit it a little bit harder.

258

00:15:03,314 --> 00:15:04,635

Okay back here.

259

00:15:04,635 --> 00:15:07,724

We're going to pick up just in Lindy

in yellow and a touch of white.

260

00:15:10,364 --> 00:15:15,704

And again, loosen the

paint, loosen the fan.

261

00:15:16,125 --> 00:15:18,165

I want it to be a little bit

brighter right up here in

262

00:15:18,165 --> 00:15:20,145

front smuggle, back in here.

263

00:15:21,135 --> 00:15:26,675

And I'll create the illusion of

this sitting in front of what's

264

00:15:26,675 --> 00:15:31,295

happening there and back, you can see

the depth coming in through there.

265

00:15:33,480 --> 00:15:37,920

That down into shadow,

leave it a little darker.

266

00:15:38,590 --> 00:15:42,750

See how the lines point in through here

really clipping along, clipping along.

267

00:15:43,920 --> 00:15:44,610

Okay.

268

00:15:44,670 --> 00:15:53,040

Now let's take some Ben Dyke

Brown and a little bit of

269

00:15:54,510 --> 00:15:56,010

burnt umber about equal parts.

270

00:15:56,010 --> 00:15:58,620

When you're doing this, we're going to

put a couple of Burt's cheese in there.

271

00:15:59,204 --> 00:16:00,464

Remember, don't mix your paint.

272

00:16:00,495 --> 00:16:01,694

You want to keep the texture.

273

00:16:01,755 --> 00:16:03,255

The texture is what's working for you.

274

00:16:05,775 --> 00:16:10,005

And from this I'll make three

different values by adding your

275

00:16:10,005 --> 00:16:14,084

thick white to put our base color on.

276

00:16:14,235 --> 00:16:20,025

We first start with Vandyke Brown,

just straight up Vandyke Brown.

277

00:16:21,555 --> 00:16:27,285

And we put a line in there

where your paint line in there.

278

00:16:28,515 --> 00:16:33,255

I pretty well, draw the line and then

go back in and fill in, flip my knife

279

00:16:33,255 --> 00:16:34,905

over since I've loaded both sides.

280

00:16:34,905 --> 00:16:35,775

I can do that.

281

00:16:41,855 --> 00:16:42,845

Pull your pants.

282

00:16:44,105 --> 00:16:44,195

Okay.

283

00:16:45,035 --> 00:16:47,015

Draw the line, draw the

line, draw the line.

284

00:16:47,015 --> 00:16:54,485

Gotta draw the line somewhere that, fill

it in, fill it in, fill it in, fill it in.

285

00:16:57,255 --> 00:16:57,734

All the way up.

286

00:16:59,564 --> 00:17:00,824

Let's put another one in there.

287

00:17:01,545 --> 00:17:01,635

Okay.

288

00:17:01,805 --> 00:17:05,734

Let's bring this guy down in

here, bring it up, bring it up.

289

00:17:05,885 --> 00:17:07,175

Tap in the line.

290

00:17:08,254 --> 00:17:09,274

Give yourself a base.

291

00:17:09,274 --> 00:17:10,325

Something to work from.

292

00:17:12,335 --> 00:17:16,234

This is again, I'm using just straight

Vandyke Brown, right in through here.

293

00:17:16,835 --> 00:17:20,944

Remember you have to have shadow

to show light in everything you do.

294

00:17:22,365 --> 00:17:25,605

Whether it's trees or rocks

or bushes got to have the dark

295

00:17:25,605 --> 00:17:26,835

before you can play the light.

296

00:17:28,155 --> 00:17:28,515

Okay.

297

00:17:28,545 --> 00:17:29,025

Fill it in

298

00:17:32,175 --> 00:17:34,875

doctor, down in here with what filled in.

299

00:17:39,425 --> 00:17:39,905

Okay.

300

00:17:39,935 --> 00:17:41,555

Now we got a lot of texture on there too.

301

00:17:41,585 --> 00:17:42,695

I like a lot of texture.

302

00:17:43,865 --> 00:17:44,255

Okay.

303

00:17:44,255 --> 00:17:46,265

Now we're going to take

that Vandyke Brown.

304

00:17:49,065 --> 00:17:51,764

And Britain, Amber, I could

say it's about equal parts.

305

00:17:52,125 --> 00:17:55,725

We add just a touch of your

titanium, white to that.

306

00:18:00,155 --> 00:18:02,585

And again, I'm going to make about

three different values of that.

307

00:18:04,415 --> 00:18:06,245

Let's get that a little

darker for the first time.

308

00:18:07,155 --> 00:18:10,475

Remember your shadows coming

from your, um, from your right?

309

00:18:10,504 --> 00:18:13,715

So the right side of your tree would be.

310

00:18:15,315 --> 00:18:17,535

Which still shows shadow,

but it would be darker.

311

00:18:18,015 --> 00:18:20,805

And as we come to the right,

we will start lightening up.

312

00:18:21,525 --> 00:18:22,485

Look at the pull of that.

313

00:18:22,785 --> 00:18:28,635

Watch don't push, just let

the paint pull off for me.

314

00:18:30,285 --> 00:18:31,695

Let the paint do the work.

315

00:18:32,865 --> 00:18:37,125

All I have to do is that,

um, that, um, guide the idea.

316

00:18:37,155 --> 00:18:38,025

Let it happen.

317

00:18:38,625 --> 00:18:41,835

I didn't have no pressure, no

pressure, no pressure, no pressure.

318

00:18:44,070 --> 00:18:50,010

Okay, we'll take a little bit lighter

value of that and do the same thing.

319

00:18:53,460 --> 00:18:57,270

Again, you get that load of paint

that I showed you always load your

320

00:18:57,270 --> 00:18:58,770

knife the same way I showed you.

321

00:19:01,230 --> 00:19:01,950

Light touch.

322

00:19:01,980 --> 00:19:03,450

Let it pull, let it pull.

323

00:19:03,450 --> 00:19:04,680

Let it pull out for you.

324

00:19:05,940 --> 00:19:10,770

No pressure, no pressure

and all the way up.

325

00:19:16,185 --> 00:19:20,985

Remember, your knife really

never touches the canvas.

326

00:19:21,915 --> 00:19:27,195

That roll of paint you got on there

as what's working, it lifts itself

327

00:19:27,195 --> 00:19:30,435

away from the knife and that falls

in the direction you want it to fall.

328

00:19:32,045 --> 00:19:32,375

Okay.

329

00:19:32,375 --> 00:19:33,425

A little more white.

330

00:19:35,165 --> 00:19:38,015

And some of that mix marble it together.

331

00:19:38,015 --> 00:19:38,185

Like.

332

00:19:38,295 --> 00:19:38,775

So,

333

00:19:42,345 --> 00:19:42,795

okay.

334

00:19:42,975 --> 00:19:48,485

Give it a little more light that, uh,

right here on this one side, I had a pool

335

00:19:48,545 --> 00:19:54,365

and a pool, duh, duh, duh, duh, duh, duh,

336

00:19:58,415 --> 00:20:02,045

pull it in light touch,

light touch, light touch.

337

00:20:02,465 --> 00:20:04,385

Kind of those trees are

starting to round out for you.

338

00:20:05,525 --> 00:20:07,595

You can see the movement running around.

339

00:20:10,200 --> 00:20:14,400

And the texture would that bark grant.

340

00:20:16,020 --> 00:20:16,410

Okay.

341

00:20:16,410 --> 00:20:19,940

Let's tick that green mix I had you make.

342

00:20:20,150 --> 00:20:23,180

And we're going to take just a

little bit of your magic black.

343

00:20:23,210 --> 00:20:24,290

We want to lose paint.

344

00:20:25,640 --> 00:20:29,300

So I'm going to thin it down with a

little bit of magic black, because

345

00:20:29,300 --> 00:20:30,770

we want a real dark color here.

346

00:20:32,390 --> 00:20:35,630

We're going to come back up in here

and we're going to lightly touch.

347

00:20:36,615 --> 00:20:41,804

Not the thick pull off the thin that,

that, that, that look at that shadow.

348

00:20:42,554 --> 00:20:43,575

It wouldn't pull it.

349

00:20:43,575 --> 00:20:50,595

Wouldn't grab for me if I didn't

send it down that like, so, okay.

350

00:20:51,935 --> 00:20:53,735

Now let's finish off those trees.

351

00:20:53,764 --> 00:20:58,685

They need a few little branches,

take some magic black and a

352

00:20:58,685 --> 00:21:01,085

little bit of burnt umber.

353

00:21:02,825 --> 00:21:03,995

You want to lose paint here?

354

00:21:05,205 --> 00:21:06,045

Keep it loose.

355

00:21:11,055 --> 00:21:11,985

Keep it loose.

356

00:21:13,425 --> 00:21:17,325

Now let's use the little

script liner, long hair.

357

00:21:18,585 --> 00:21:20,115

You need those long hairs.

358

00:21:21,225 --> 00:21:27,435

So few hairs, but long because they need

to bounce onto the canvas and move around.

359

00:21:27,555 --> 00:21:31,515

However we want them to, if I

had a short hair brush, it would

360

00:21:31,515 --> 00:21:33,225

almost push into the canvas.

361

00:21:33,705 --> 00:21:36,345

So the hair should be be long.

362

00:21:38,355 --> 00:21:41,115

You long to turn, look

at, watch the painful.

363

00:21:41,955 --> 00:21:42,525

Yeah.

364

00:21:44,555 --> 00:21:45,245

Okay.

365

00:21:47,015 --> 00:21:50,615

And up in here, we'll

give it a little, a little

366

00:21:54,935 --> 00:21:55,625

Oh, darker.

367

00:21:55,625 --> 00:21:57,545

I'd have been there by the pool.

368

00:21:57,545 --> 00:22:04,260

And as you come down that, uh, Pull it

and bring it in around, look at the twist,

369

00:22:06,600 --> 00:22:09,960

let it twist and turn in your fingers.

370

00:22:10,650 --> 00:22:12,660

Don't try to paint the painting.

371

00:22:13,590 --> 00:22:16,320

Otherwise they look like little

sticks hanging up in there and

372

00:22:16,320 --> 00:22:17,460

you want a little more movement.

373

00:22:17,460 --> 00:22:25,040

Everything should have a little movement

back down, maybe a little guy up in there.

374

00:22:29,534 --> 00:22:35,865

Oh, let's put a little is

coming from their little snakes.

375

00:22:39,284 --> 00:22:40,544

Nothing's happening now.

376

00:22:40,544 --> 00:22:45,034

Let's take a look, a bit of magic

white on a little bit of that Brown.

377

00:22:46,534 --> 00:22:51,395

We're going to highlight a few of

those little branches do still.

378

00:22:51,425 --> 00:22:52,085

You want to lose fat?

379

00:22:52,125 --> 00:22:55,355

Look how that falls now, just by

adding a little bit of light on those

380

00:22:55,355 --> 00:22:58,385

dark, it makes those stand away.

381

00:23:03,304 --> 00:23:05,554

And he gives it and don't, you

don't have to put that everywhere.

382

00:23:05,554 --> 00:23:10,564

You put the Brown, just let it pull

off where it once remember too,

383

00:23:11,014 --> 00:23:15,544

let me show you this and letting

that roll around in my fingertips.

384

00:23:15,754 --> 00:23:20,855

And I'm always bringing that to

a point, um, back up in here,

385

00:23:20,855 --> 00:23:22,294

a little light back up in here.

386

00:23:26,085 --> 00:23:30,585

Back up in here, a little,

my light up in here.

387

00:23:32,925 --> 00:23:33,255

Okay.

388

00:23:37,065 --> 00:23:38,685

Little light back up in there.

389

00:23:41,295 --> 00:23:43,425

Let it pull, let it pull for you.

390

00:23:45,165 --> 00:23:46,395

Let it move a little.

391

00:23:46,395 --> 00:23:46,845

All right.

392

00:23:46,865 --> 00:23:47,455

Here.

393

00:23:48,005 --> 00:23:49,605

All the sun clipping in there.

394

00:23:52,650 --> 00:23:53,370

Okay.

395

00:23:53,700 --> 00:23:56,360

Now before, here you go.

396

00:23:56,360 --> 00:23:57,560

Paint this on your own.

397

00:23:57,740 --> 00:24:00,410

Let's throw just, uh, one more thing.

398

00:24:00,410 --> 00:24:01,460

Let me show you one more thing.

399

00:24:02,540 --> 00:24:05,000

Take a little bit of magic

Wyatt and touch it for a number

400

00:24:11,870 --> 00:24:14,900

and right in here, we need some movement.

401

00:24:15,290 --> 00:24:16,640

So we'll go back in here.

402

00:24:18,375 --> 00:24:25,175

And we'll make a little more of

a definite larger little thing.

403

00:24:25,175 --> 00:24:28,745

Moving off in here, bigger it's coming up.

404

00:24:28,745 --> 00:24:30,605

It's kind of sitting

in front of those guys.

405

00:24:30,665 --> 00:24:34,475

It's getting a little

little here, little there.

406

00:24:35,764 --> 00:24:38,945

It kind of breaks that area and puts

your eye back into the painting.

407

00:24:39,125 --> 00:24:41,254

So you have the movement of

the painted is going around.

408

00:24:41,254 --> 00:24:46,085

It hits the mountains, it

captures who's around and around.

409

00:24:47,100 --> 00:24:54,990

Now this also will help keep,

keep the viewer in focus a little,

410

00:24:54,990 --> 00:24:57,000

this a little more right in there.

411

00:24:58,950 --> 00:24:59,490

Okay.

412

00:25:01,320 --> 00:25:02,310

We'll touch in there.

413

00:25:07,680 --> 00:25:08,220

Alrighty.

414

00:25:08,670 --> 00:25:13,080

And last but not least, I will

pick up a little magic black.

415

00:25:14,580 --> 00:25:20,340

And sign my name away here, then paint.

416

00:25:21,270 --> 00:25:24,390

I like using a thin pink because it

will pull off automatically for me.

417

00:25:26,910 --> 00:25:28,380

Dada, dada.

418

00:25:30,270 --> 00:25:32,340

Well, I've sure enjoyed

being with here today.

419

00:25:32,370 --> 00:25:40,155

I really hope that, uh, was able to teach

you something and, um, Here those few

420

00:25:40,155 --> 00:25:42,314

tips in your, be all ready to go for it.

421

00:25:42,875 --> 00:25:44,135

Tell you she was fantastic.

422

00:25:44,435 --> 00:25:46,084

Thanks from all of us here.

423

00:25:46,084 --> 00:25:47,435

We'd like to wish you happy painting.

424

00:25:47,524 --> 00:25:49,115

God bless, and we'll see you next week.

425

00:25:49,205 --> 00:25:49,655

Bye bye now.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 23, 2020

S04E11 - Northwest Majesty

Bob Ross's

The Joy of Painting

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