Bob Ross's

The Joy of Painting

S05E03 - Mountain Blossoms

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Oh, welcome back.

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I'm glad you could join me today.

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And today I have a special treat for you.

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I have a close personal friend.

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That's going to pay for you today.

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And he comes out of Muncie, Indiana.

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I'd like to introduce you to

Dana jester and Dana travels all

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over the country teaching for us.

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And I think you'll find

him a fantastic painter.

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So, Dana, thanks for being here.

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I'm going to turn it over

to you and I'll see you.

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Okay.

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Today.

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What I've done.

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I've got the canvas

prepared ahead of time.

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I've got a code of magic,

quiet up here on the top.

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And I've used the magic black

on the bottom, the base only

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magic black down here, and the

colors will be using the day.

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You'll be seen soon

across your screen here.

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And what I'm going to

use first is flavor blue.

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We're going to paint in a little sky

crossed here, just use this X pattern

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across just across the top, just like

so, and we'll gradually blend us in

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using your magic white since it's makes

a nice base coat and we'll let it.

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Gradually lightened up as we work our

way down to where maybe the horizon

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lines are going to be on this painting.

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Yes.

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Like, so, okay.

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Well go ahead and clean

her large brush here.

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Okay.

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And I think maybe we're

better on this painting here.

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We use a fan brush and we'll.

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Loaded up with some titanium

white load up fairly heavy.

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That way you'll get the breast to

work right for you over these clouds.

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Okay.

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I use the brush in a

circular motion like this.

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You don't have to put the same

amount of clouds in your painting

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is what I'll put in mine.

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You can always design your

own, use your own imagination.

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Just put a few floating little

clouds in here, something like that.

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Go ahead and clean and brush, and we'll

go back over these clouds with a large

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brush to kind of soften them down,

set them into this guy a little bit.

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Look at that, go back and

forth on something like that.

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And think maybe what we'll do next

is take, we're going to work with

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equal parts of a lesbian Crimson.

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And they low green.

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This should make a, a black, but

in order to test this color, we

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need to mix a little bit of it.

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And with some of your titanium white,

make sure you get this thoroughly mixed.

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If not, you'll be in trouble.

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Okay.

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Take a little bit of your titanium.

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White end up with a black nice dark gray.

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So we're going to go ahead and use

this with some more titanium white.

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We'll use this for the base

coat of your mountains.

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We'll put some mountains

in this painting today.

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Majority of people liked mountains.

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Okay.

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We'll work with it a little bit darker

value, especially if you haven't painted

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too many mountain scenes, though.

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If you get a real dark base coat,

it'll be a lot easier for you.

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Okay.

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Let's go up to the canvas.

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I would put as a peak and just likes it.

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Let's drag this paint down, scrape

it right on into the canvas.

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You can make as many peaks as

you desired, whatever you like.

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It's best to avoid getting it straight.

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It's down here at the

base of your mountain.

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We just want to get this

scraped him for now.

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A magic quieter work

for you in a few minutes

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like that.

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Okay.

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Go ahead and clean your knife off.

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Make sure you got all the excess paint off

that mountain, but what we're going to do

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start working with some highlight color.

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We're just going to use titanium

white robot up on your knife like that

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and get a nice, fine roll and go up.

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To the right-hand side of your

mountain and just let this

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glide down right off the knife.

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Do it again here.

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So this like, so just

let it glide and break.

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If not, this mountain

will not set back for you.

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And what started here on this peak,

again, lights suggested from the

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right-hand side of your pain like that.

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Let me run this Ridge right on the Rover.

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This is how you develop several

different ridges in the mountain.

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Just let her flow off your knife.

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Yes, like that.

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Okay.

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Okay.

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Now what we're going to work with

next will be some titanium white

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and just a small amount of your,

a little blue, because that stuff

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I tell you is really strong.

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It really overpower that white real quick.

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I just want a nice, soft, real light

blue, and we'll use it just the same

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as we did your white and only we're

going to put it on the left-hand side

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of your pigs for the shadow is fill in

your little dark areas in their back.

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My fill in all the left-hand sides here.

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This is where you

developed your own amount.

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Wherever you see a little.

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Ravine that's where you need to put your

shattered area and yes, like, so, okay.

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Now let's take the large

brush and softness basis.

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Mountain down quite a bit.

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You can pull this paint

down, fall off easily.

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It's best to follow the

contour of the mountain.

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It'll help the, the mountain real well.

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You just pull straight up and

down the mountain looks like it's

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just standing up on the canvas.

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You don't want that to happen.

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Don't want that to drag ride on out.

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But if you didn't have that

magic, quiet underneath area sure.

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Would be a problem.

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See, I'm nice.

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And Misty haze.

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It is the base of that mountain.

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That's what you're looking for.

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And you can go up here and

pull this a little bit.

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It's white down.

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Nice and easy.

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Now at this time, we'll go ahead and

work with a knife again, and we'll drag.

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Just a little more highlights down.

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Maybe, maybe we want this to come

down just a little further and

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just a few areas really help set

it back just a little bit more.

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Also don't get too carried

away or you have lights.

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You'll need some shadows.

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So keep that in mind also.

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Okay.

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Let's go with her knife and

we'll put in maybe a little bit

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more shadow area right in here.

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Okay.

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Now we can soften that down, using a

large brush again and see how much more

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distance you're creating when you put

just a little more white down there.

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And just like that, it's like, so, okay.

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Let's work with a fan brush.

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Next we're going to want to do is go

with a fan brush and pick up quite a

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bit of your dark mix that we mixed up.

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Earlier, and we're going to use

this to put on a few for trees

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back here, off into the distance.

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So we'll go up here and just

start, just use your fan brush,

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just use the chiseled edge of it.

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Just tap down and pull

all these trees down.

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And it's also a real nice idea.

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If you can vary the height

than them trees, you want to

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have them all the same size.

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It looks a little more realistic.

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If you can do that.

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I forget to put quite a bit of paint

on your brush, especially when you're

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first starting out along this edge.

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And then as you work toward the center

of your painting, let's just let the

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paint flow off the brush and you use the

magic quiet to lighten this up in value.

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That'll set it off even a little bit

more often than, than distance it's like.

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So see how those are starting

to fade off into the distance.

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That's just right.

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Or I don't want to work to nothing.

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Okay.

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Let's go ahead and clean

that fan brush out.

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Maybe we'll work with an inch brush next.

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Maybe take the angel brush and we'll

just tap and softness down a little bit.

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This will give the illusion of more.

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Fog or mist here at the base of these

trees, that'll set them, help, set

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them back into the painting I've

been given just a little bit of more

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depth should work across the canvas.

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Also don't hurt at this time to maybe

pull in and follow the contour of the

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land here at the base of your trees.

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We'll go back to our fan brush and

what we're going to do with the

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fabric, which again is just load

up real heavy with your dark mix.

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And we'll put in a few more distinctive

for trees, a little larger right here.

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She was the corner of your brush

and just let them, her trees

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fall right out of the brush.

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Just like that.

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Just tap it right on down.

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It's like, so that was so fun.

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Let's do another one.

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He can't stay there all by himself.

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It was tapping right in here.

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Look at that thing grow.

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Hello?

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Right on down to the land.

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You don't want them floating

getting carried away.

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I got to put one more and he's

leaning just a little bit.

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It's just the baby tree here.

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Okay.

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Let's go ahead and clean her fan brush.

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Maybe we'll get some land for

those for trees to sit on.

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And we'll go back with a ranch brush

and we'll just tap down just a little

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bit to create a little more distance

in the painting, something like that.

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Now let's go back with the old fan

brush, a little bit of black, not much.

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I just want to tap, press lift

to create just a little land

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underneath here, just like that.

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Then we'll go back and maybe

soften this up just a little bit

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more with the one inch brush,

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even pull some of this down

kind of taper that land off.

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Like it's a rolling Hill.

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I have a little few rolling

Hills around this mountain.

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You don't want to be lonely there.

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Okay.

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Let's go ahead and go

back with our ranch brush.

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And just softness down just a

little bit most by tapping down,

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we all have a few dark areas in there.

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Often end up just like that.

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Right.

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Clean nine inch brush out here.

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And I think maybe a bit good

time to take the fan brush out

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again, and let's put it on a few.

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Trunk lines with some of this dark mix.

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And again, on this, if your paint's

very thick, you may want to add

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just a little thinner for the paint,

a fluffy brush for these trees.

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These trees will be nice and tall.

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Maybe we'll take it all the way

off the top of the canvas here.

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Just come down just like that.

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well, forget to take plenty

of paint on your brush.

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Put these trees in.

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Okay.

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Let's try that again.

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That was much fun.

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We better try it again.

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Let's go ahead and put in

another one right in here.

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Like that.

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Just let her come on down

into your foreground here.

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You don't want to let it stand there.

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Midair.

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I'll go.

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Maybe one more time or

a couple more times.

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You never know.

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Just depending on the mood of the brush,

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just remember to put plenty of

paint on your brush when you're

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doing this and pull it down.

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Okay.

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I think there's a little old, maybe

this next tree's a little lazy.

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I think he looks like he might be

leaning over just a little bit.

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Look at that.

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Yeah, he's lazy for sure.

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Plenty of pain.

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Yeah.

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Remember to take them down into the

foreground while we got the brush

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loaded, let's pick up a little thinner

on that brush and go with this dark mix.

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Make sure it's a little on the

thin side and when always tap in

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just a few little Pines on this

side, maybe there was a, another.

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For a tree grow over here on

this side, just like that.

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Okay.

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Now, before we get too carried away

on tapping old Pines on, on the other

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trees, let's take a line of brush and

some thin oil are your thinner and

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put on a few branches on these two,

this dragon right off there, hold your

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brush up and make sure that paint's

good and fan, or it won't flow for you

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some thinner on that brush.

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And drag them right on out.

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Like, so

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maybe these other trees

need a few branches on

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Slack.

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Remember, make sure that paint's good.

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And fan won't flow off for you.

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You can also get a little carried away,

putting too many branches on new street.

252

00:14:37,605 --> 00:14:42,225

You got to have enough to make it a

little realistic there and helps if your

253

00:14:42,705 --> 00:14:47,715

arm or your hand can get real nervous

to make those branches kind of wiggly.

254

00:14:47,725 --> 00:14:52,005

They're like mother nature

creates something like that.

255

00:14:54,075 --> 00:14:54,735

Down in there.

256

00:14:56,695 --> 00:14:57,795

I have a friend who went on there.

257

00:15:01,605 --> 00:15:03,495

If take one, Claire off

the side of the canvas.

258

00:15:04,725 --> 00:15:05,475

Okay.

259

00:15:06,045 --> 00:15:10,995

Let's go back to the fan brush, make

sure your paints fan down a little bit

260

00:15:11,715 --> 00:15:12,855

and use a little bit of your thinner.

261

00:15:13,395 --> 00:15:16,785

Is this dark value just

to tap in, just tap.

262

00:15:17,865 --> 00:15:19,245

I'm really just using the corner.

263

00:15:19,265 --> 00:15:19,755

My brush.

264

00:15:19,755 --> 00:15:24,615

Now it's tapping a

little bit high is here.

265

00:15:29,344 --> 00:15:32,165

Maybe we'll go over here on the other

side, do these while we're at it.

266

00:15:36,485 --> 00:15:37,425

Don't get too carried away.

267

00:15:37,444 --> 00:15:41,704

Don't cover up everything

there, all pain here.

268

00:15:44,405 --> 00:15:45,665

I don't fall off the brush.

269

00:15:46,985 --> 00:15:47,735

Just that simple.

270

00:15:52,895 --> 00:15:55,175

They're just taking, put a few.

271

00:15:55,995 --> 00:15:56,325

Down here.

272

00:15:56,325 --> 00:15:57,525

Just a little lower.

273

00:15:58,245 --> 00:16:01,095

They'll close to the

foreground here at forward.

274

00:16:04,035 --> 00:16:04,725

Okay.

275

00:16:04,785 --> 00:16:12,585

Let's clean our brush off and

let's work with the one inch brush

276

00:16:14,415 --> 00:16:15,585

and we'll what we're going to do.

277

00:16:15,645 --> 00:16:19,715

We're lean to add just a little

more, have your black mixed to your

278

00:16:19,715 --> 00:16:23,345

base code and maybe just a tad.

279

00:16:24,824 --> 00:16:25,844

More or less lizard to it.

280

00:16:27,224 --> 00:16:29,745

We want to work from our darks

workup to our lights here.

281

00:16:31,935 --> 00:16:37,155

So get something like

that, a real deep color.

282

00:16:38,444 --> 00:16:41,505

Let's put it on down

here in the foreground.

283

00:16:42,285 --> 00:16:50,074

Let's use the one inch brush and

just use a little tap, even just

284

00:16:50,074 --> 00:16:51,395

a little circular motion on that.

285

00:16:51,395 --> 00:16:52,474

This is just the base code.

286

00:16:53,205 --> 00:16:54,074

Just to give you a coat.

287

00:16:54,105 --> 00:16:54,765

You don't want to cover it.

288

00:16:54,765 --> 00:16:55,574

Kill all your darks.

289

00:16:55,574 --> 00:16:58,595

You've got to have those darks to

Crete, just a little more depth,

290

00:17:00,335 --> 00:17:03,635

a little more in interest in the

pain in there, but go ahead and

291

00:17:03,635 --> 00:17:04,895

go all the way across your canvas.

292

00:17:07,444 --> 00:17:12,454

And we'll do all those little bushes

and foliages in the front there.

293

00:17:13,444 --> 00:17:18,425

It may even turn up to be

little flowering bushes.

294

00:17:20,520 --> 00:17:21,180

It's like that.

295

00:17:23,730 --> 00:17:27,840

And at home you can create your own

paintings or you to get your own idea

296

00:17:27,840 --> 00:17:33,450

and put it on canvas, but it's just

give you some guideline or to show you

297

00:17:33,450 --> 00:17:38,460

how, how the brushes work like that.

298

00:17:39,660 --> 00:17:41,070

Remember to save some of your dark.

299

00:17:41,250 --> 00:17:42,450

You don't want to kill all that dark.

300

00:17:45,480 --> 00:17:45,810

Okay.

301

00:17:47,670 --> 00:17:48,390

All right next.

302

00:17:48,390 --> 00:17:52,230

I think we're gonna need to mix

it up just a little bit of lighter

303

00:17:52,230 --> 00:18:00,780

value and we'll go with the same mix

and just add just a little titanium

304

00:18:00,780 --> 00:18:05,370

white to it, and a little Elysium

305

00:18:09,480 --> 00:18:14,130

to stand up to the

lavender or a mov color.

306

00:18:17,085 --> 00:18:18,555

And we'll be working with that.

307

00:18:19,275 --> 00:18:19,455

Okay.

308

00:18:19,455 --> 00:18:23,565

Let's take a one inch brush and

just dip it into your magic.

309

00:18:23,565 --> 00:18:27,975

Quiet a little bit, and then go

through this color and pick it up.

310

00:18:29,595 --> 00:18:30,855

Yeah, just something like that.

311

00:18:31,545 --> 00:18:35,955

Oh, go up here and we'll just tap on

his, canvas it up just a little bit.

312

00:18:37,125 --> 00:18:40,295

And again, it's really important

on this to kill all your

313

00:18:40,295 --> 00:18:43,475

darks, save some of your dark.

314

00:18:46,044 --> 00:18:47,385

Let's go across the base here.

315

00:18:47,774 --> 00:18:52,334

And at this time you can press and lift,

but we don't want to kill all your darks.

316

00:18:52,334 --> 00:18:55,365

Won't go in over the top of this with a

lighter value than what I've got here.

317

00:18:56,685 --> 00:18:57,945

That'll really make them stand out.

318

00:19:10,145 --> 00:19:12,185

these might be fire weeds

or something like that.

319

00:19:12,185 --> 00:19:13,235

And every hand tail here,

320

00:19:21,485 --> 00:19:23,405

but remember, I'm saving

some of that dark.

321

00:19:23,705 --> 00:19:24,815

I'm doing that for a purpose.

322

00:19:25,955 --> 00:19:29,255

When you look at this with the finished

product, if you, if you have some, a

323

00:19:29,255 --> 00:19:33,765

dark, your darks left, you'll create

just a little more interesting.

324

00:19:33,765 --> 00:19:33,995

It'll.

325

00:19:34,905 --> 00:19:36,105

Look a little deeper for you

326

00:19:44,315 --> 00:19:44,675

at home.

327

00:19:44,675 --> 00:19:48,725

You might want to take a little

time and like individual ones.

328

00:19:48,725 --> 00:19:51,905

It's really whatever you desire.

329

00:19:57,755 --> 00:20:00,995

Go ahead and get the entire base.

330

00:20:00,995 --> 00:20:03,185

This canvas with this

cup of color value here.

331

00:20:03,860 --> 00:20:05,400

We'll go ahead and lighten

it up and just a minute.

332

00:20:07,350 --> 00:20:11,910

Got to have the darks before you work

to your lights, keep that in mind.

333

00:20:11,910 --> 00:20:13,050

We'll help you with your paintings.

334

00:20:26,600 --> 00:20:27,050

Okay.

335

00:20:27,110 --> 00:20:31,550

Let's use that same mixture,

different brush into the magic wine.

336

00:20:33,405 --> 00:20:37,814

And lighten this up a little bit, but we

also may want to go just a little Pinker.

337

00:20:37,875 --> 00:20:42,615

Let's said just a little more lizard to

this, so you can really see the color

338

00:20:42,645 --> 00:20:44,115

change when you go up to the canvas.

339

00:20:45,405 --> 00:20:46,875

It's pressing left again.

340

00:20:47,415 --> 00:20:50,925

We don't want this over the entire

canvas now, art over each and

341

00:20:50,925 --> 00:20:53,024

every individual Bush either.

342

00:20:53,024 --> 00:20:54,855

We just want to hit a few places here.

343

00:20:55,935 --> 00:20:56,895

See how that brings them out.

344

00:20:56,895 --> 00:20:57,945

Just a little bit more.

345

00:21:01,110 --> 00:21:01,950

It's like that.

346

00:21:10,010 --> 00:21:10,400

Yes.

347

00:21:10,420 --> 00:21:12,410

Brains Mount just a little bit more there.

348

00:21:13,879 --> 00:21:18,740

You can also add just a little

more magic quite to this a little

349

00:21:18,740 --> 00:21:23,000

more or less than even make it

stand out just a little bit more.

350

00:21:25,950 --> 00:21:26,640

It's like that

351

00:21:31,610 --> 00:21:32,370

pressing lift.

352

00:21:36,430 --> 00:21:39,030

I have to do each and every one,

because we're going one more time

353

00:21:39,030 --> 00:21:40,800

or this it's a little bit lighter.

354

00:21:48,750 --> 00:21:49,980

Catch this guy right here.

355

00:21:54,570 --> 00:22:01,889

Save some of the darks, little

more magic, quiet, more lizard,

356

00:22:06,540 --> 00:22:10,440

and press them right in there.

357

00:22:11,850 --> 00:22:13,020

Look at these things grow.

358

00:22:26,195 --> 00:22:29,225

now let's go just a little bit lighter

on a few of these, like maybe a

359

00:22:29,225 --> 00:22:33,305

little lights hitting them, really

strong, more Lisbon and more magic.

360

00:22:33,305 --> 00:22:35,975

Quiet tap.

361

00:22:35,975 --> 00:22:36,995

Just a few places.

362

00:22:39,005 --> 00:22:40,145

I don't want to get too carried away.

363

00:22:44,355 --> 00:22:46,544

See how that makes them stand

out just a little bit more.

364

00:22:47,925 --> 00:22:49,274

They're not all on the light though.

365

00:22:49,274 --> 00:22:52,064

So you don't want them

all, all real light,

366

00:22:58,534 --> 00:22:59,855

but notice I'm still saving.

367

00:22:59,855 --> 00:23:00,814

So I'm on darks.

368

00:23:02,105 --> 00:23:03,095

You got to keep that in mind.

369

00:23:05,135 --> 00:23:06,245

Don't want to kill all your dark.

370

00:23:08,400 --> 00:23:09,000

It's like, so

371

00:23:12,900 --> 00:23:14,100

get a couple right up here.

372

00:23:17,990 --> 00:23:18,350

Yeah.

373

00:23:18,770 --> 00:23:24,139

Amy, we'll go ahead and

clean her brush out and

374

00:23:27,820 --> 00:23:32,750

go in with a liner brush and.

375

00:23:33,240 --> 00:23:38,610

If you've got magic black and using stove

straight magic black on this, we'll just

376

00:23:38,610 --> 00:23:42,510

put a few twigs or some dead branches

down here at the base of the penny.

377

00:23:43,710 --> 00:23:45,120

Just put them right in like that.

378

00:23:47,460 --> 00:23:49,050

And I'm right here.

379

00:23:49,169 --> 00:23:53,189

Let's let them flow right off of

the brush or just growing into wild

380

00:23:56,700 --> 00:23:57,629

start right in there.

381

00:23:57,720 --> 00:23:58,200

But another one

382

00:24:01,800 --> 00:24:02,250

look at that.

383

00:24:03,375 --> 00:24:07,695

Flow right off of rush magic.

384

00:24:07,695 --> 00:24:08,145

Quiet.

385

00:24:09,915 --> 00:24:10,695

Really nice.

386

00:24:17,535 --> 00:24:18,015

Okay.

387

00:24:22,125 --> 00:24:24,495

I'm gonna take this test

a little bit further,

388

00:24:30,495 --> 00:24:31,365

something like that.

389

00:24:38,480 --> 00:24:39,860

put in one more here.

390

00:24:40,670 --> 00:24:40,760

Okay.

391

00:24:45,560 --> 00:24:50,120

It's like, so make sure you got the

base, then it's faded into the painting.

392

00:24:50,450 --> 00:24:53,180

Good enough to where they look like,

or at least attached to the ground.

393

00:24:59,764 --> 00:25:02,375

like some real squiggling

branches on some of these here.

394

00:25:04,294 --> 00:25:10,804

It's like, so then you can go back

and go over the ones here on the far

395

00:25:10,804 --> 00:25:14,074

right-hand side and use some magic,

quiet, and just rarely go over them

396

00:25:14,084 --> 00:25:15,725

just to highlight and just a little bit.

397

00:25:20,445 --> 00:25:20,735

So.

398

00:25:29,295 --> 00:25:32,475

I think maybe we'll go

ahead and sign her name.

399

00:25:35,175 --> 00:25:43,275

J E S T E R.

400

00:25:44,895 --> 00:25:46,845

Didn't that tell you this

young man was fantastic.

401

00:25:47,115 --> 00:25:49,065

Dana, we certainly thank

you for being with us today.

402

00:25:49,680 --> 00:25:51,750

We look forward to seeing him

again from all of us here.

403

00:25:51,840 --> 00:25:52,530

Happy painting.

404

00:25:52,980 --> 00:25:53,550

God bless.

405

00:26:00,680 --> 00:26:01,280

Uh,

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 24, 2020

S05E03 - Mountain Blossoms

Bob Ross's

The Joy of Painting

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