Bob Ross's

The Joy of Painting

S05E12 - Indian Girl

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Welcome back.

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So very glad you could join us today.

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You know, in past shows, I've asked

you to drop me a line and tell me

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what you want to see on these shows.

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One of the things that everyone has

dropped me a line and told me they wanted

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to see was someone doing portraits.

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So I brought a young lady all the

way from California to show you

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one of the most fantastic ways of

doing portraits you've ever seen.

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And I'd like to welcome today.

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Fern Serwah.

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Fern glad to have you with us.

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Thank you, Bob.

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I'm going to sneak right off the set here.

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Let Fern have it.

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And I'll see you at the end of the show.

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Let's begin.

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By talking about what

you paint a portrait on.

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It's usually a smooth surface and

I've chosen a Mason night board.

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I prepared it with JSO and I've worked

up a sketch and transferred it on

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with a transfer paper called graphite.

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Then I sealed it and I've buttered

it up with my medium meaning

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I've painted the medium on it.

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And the medium.

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Is Damar varnish, linseed oil

and turpentine, and GOARN use

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an inch and a half sash brush.

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Let's go to the pallet and

I'll mix up the first color.

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The first color there I'm going

to use is burnt Sienna, Indian,

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yellow, and cadmium red light.

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Because today we're going to

paint a little baby Indian.

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Okay.

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Now with this great big brush, just

paint all the way across the face.

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And because the paints that I'm using

are really very thin and the mediums

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already on the board, the paint comes

off in a very transparent manner so that

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you can see the drawing right through.

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You never lose your drawing this

way and you get a lovely skin tone.

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Okay.

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This is a nice color to

also use in the background.

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So I'm going to handle the background

with this, and I'm just going to let the

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brush dance to and fro over the board.

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See how the paint just glides on this

is really such an easy way to get a

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quick portrait without a lot of effort.

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Now, this can be smoothed down that

at first is going to look a little

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streaky, but that's all right.

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It makes, it gives it a little character

to have some brushwork in there.

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And so we're going to get a nice

impression I'm going to vignette.

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And that means to just cameo the

portrait and the rest of the painting

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will be very, uh, vague and, and sort

of soft and diffused in the background.

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That's good because the center of

interest is really the little face.

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So we don't want to confuse anyone by

putting too much in the background, the

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portrait and the dark and the corners.

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And I picked up a little bird on bird.

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okay.

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If you're getting streaks or that go

in one particular direction, the way

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to handle that, if you want it to be

nice and smooth is to brush against the

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grain brush in the opposite direction.

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And that would smooth it out.

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Okay, we've got a background going here

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and it doesn't take long at all to

really develop an interesting background.

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You can get all sorts of subtleties

in your brushwork here just by

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changing the direction and brushing.

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To and fro making basket weave strokes

in and out, crisscrossing them.

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The main thing is to keep it interesting.

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Don't let it become monotonous.

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You don't want a Starburst

around your face.

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Now this color is, uh, is very

good for the costume color,

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which will be a buckskin.

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So I'm just cleaning out my brush on it.

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And you notice, it seems to get lighter

as you come in towards the face,

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and that will help set the face off.

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I want to keep this color, uh, really

out of the hair as much as possible

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because there's Indian, yellow in it.

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When I go to paint that hair,

black, Indian, yellow, and black,

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or Payne's gray will make a green.

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So it's a good idea to, uh, keep that

those colors separated in painting.

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well, we're almost finished

with the background.

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It wasn't that easy.

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Of course, that entire area can really be

softened up with a nice little blending

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brush, which I call a bunny brush.

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It's really soft, soft hair.

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It's almost like rabbit hair.

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A lot of painters use this for, uh,

blending, all sorts of things, but

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particularly this is really good on faces.

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So I'm going to blend down all

the brush strokes that might

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show up in my little face.

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I'm going to get to work

on the details of the face.

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Now, the first additional color that I'm

going to use on the face will be cadmium

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red light, and let's move to the pallet

and I'll show you how I load my breasts.

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I'm dipping a S uh, a short, uh, Sable

flat here about a number 18, and I'm

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going to wipe it off on the pallet

so that I have rather dry brush.

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I don't want gobs of color.

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On the, uh, the brush here because,

uh, they're going to be too thick.

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This needs to be a little

bit on the transparent side.

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So I'm going to stroke it in onto the

painting about midway along the cheek

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from the temple to the mouth, a load my

brush again, and I'll do the other cheek.

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okay.

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And while I'm painting the cheek,

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I'll paint the lips because the lips

will be approximately the same color.

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And since I have some red on

my brush already, I may as well

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develop some of the headband.

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I always like to paint as many,

uh, places that call for the same

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color at one time as possible.

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I think that that helps the painting

to come up like a negative and

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develop pretty much at the same time.

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I'm looking for another area

that I might paint red here.

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And, uh, perhaps a little bead work

down here to match his headband.

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This is going to be a little Indian boy.

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We'll call him little one, feather.

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okay.

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The next color that I'm

going to use will be white.

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I'm going to develop the

highlights and I'm just going to

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load my brush with a pure white,

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and I'm going to paint it right

on to the surface of the face.

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You have to be careful about

overloading the brush, which

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is something that can happen.

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Uh, in this particular instance, I got a

little more paint than I actually wanted.

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So I'm dipping my brush into the

paint and using it like an ink.

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Well, to spread it elsewhere on the

face right now, I'm just painting

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the highlights approximately

where they're going to go, and

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then I'm going to blend them.

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And I have a really interesting

technique for blending.

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I think that you're really going to like

that to see how as I strike the lights.

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They pick up the color from underneath

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and as long as I have some white on

the brush, I may as well highlight

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other areas, for instance, the lip, and

maybe a little highlight on the chin.

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all right, I'm going to let that set

for a minute and then I'll show you my

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blending technique, but I think this

is a good time to let the paint rest.

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And I'm going to show

you how to paint eyes.

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Eyes are really very easy.

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And so our faces, if you know how

to paint them, clean my brush,

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and I'm going to prepare to do the eyes

and I'm going to use a little liner

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brush a number one, or number two is

a good size for details such as eyes.

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Okay, I'm going to mix up and going to

the pallet now, and I'm going to mix up

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some burnt umber and some ivory black.

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Now I want to make sure that

the brush is not overloaded.

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So I'm rolling the brush and

I'm wiping it off on the palette

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before it began to paint.

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now, if you've got your drawing on there,

just the way you want it, there shouldn't

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be any problem in painting the eyes,

but you can make a few adjustments as

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you paint and the technique and painting

the eye is that you especially, uh, when

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working with children, as you want to

paint the top eyelid first on both eyes.

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So I'm going to paint the top eyelid.

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And I'm using little quick, short strokes,

rather than one even line this way.

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It'll resemble eyelashes,

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little short strokes.

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And remember that eyes are

really the important part of

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the painting to most people.

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Most people look into

the eyes of a portrait.

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They want to see a lot in there.

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So this is an important

part of the painting.

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And you want to make it just

as lovely as you possibly can.

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So take your time with the eyes.

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Okay.

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We've got the top eyelid painted.

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That's the, uh, the rim of the eyelid.

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Now I want to paint the pupil.

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So I'm going to paint the pupil.

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Uh, and I've loaded up my brush

with the same color that I used

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for the eyelid liner or the lashes.

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And I'm going to paint the

entire pupil and a solid mix

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of ivory black and burnt umber.

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nice and easy.

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Can you see those eyes begin to appear?

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Now baby's eyes are really a little

wider and usually larger than adult eyes

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in compared to the rest of the face.

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Now, these eyes need to need a little

sparkle, need to be livened up.

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So I'm going to add some sparkle.

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I'm going to dip my brush into

some pure cadmium red light.

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Now, combined with the dark that

I've painted in there, it should make

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those eyes sparkled beautifully and

give a pickup some of the reflected

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light from the skin and clothing.

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And here's a little bit

of painters grammar.

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You use a column on the right and

a period on the left or a calm on

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the left and a period on the right,

depending on the light source.

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And usually the comma.

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Oh, the period that is, is opposite.

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The light source.

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So the light source here

is coming from the right.

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So I'm going to paint

the comma on the right.

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Debbie, my brush again, and the period

on the left and a comma on the right.

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This is for the left eye

and a period on the left.

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Now you may need to make some

adjustment in the pupil area

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after you've added your accents.

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So you can go back and

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readjust that and make

it, make sure it's round.

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If you've accidentally squared it up.

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And of course, you know what comes next?

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That will be the wide of the eye.

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So I'm going to take up a clean brush

here and paint the white of the eye.

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Just loading it up with white paint.

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Again, only this time it's going to

be a lot thinner so that I'm sure

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to pick up some of the under color.

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K, this is a little curving stroke.

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Here's a comma.

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Here's a comma.

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You a little more paint there.

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See how it's picking up the under color.

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That's most important because the

whites of the eyes should really be

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very compatible to the skin tone.

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They should have some of

the skin tone in them.

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Need to roll my brush a little bit

and have just a touch too much paint.

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okay.

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Now we're ready for the lower eyelid,

going back to my palette and I'm picking

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up that little liner brush and I'm mixing

up the same color they're used before.

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That's burnt umber and ivory black

wiping my brush off on the palette and

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now ready to paint the lower eyelid.

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It should be in comparison to the upper

light eyelid, thinner and lighter.

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Remember thinner and lighter,

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little more touch to

the upper eyelid there.

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And since I had my brush all loaded and

ready to go, I think I'll paint eyebrows.

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K eyebrows are done a lot, like eyelashes,

little quick, short strokes, and

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lifting up at the end of each stroke.

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And it's a flick of the

wrist, a flick of the wrist

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and if they don't match, it really

doesn't matter because most people

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do not have matching eyebrows.

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Anyway.

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So you're never going to paint

exactly the same arch from the

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left as you get from the right.

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Don't worry about it.

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Kay.

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What do you suppose would be the last

and most important detail in the eyes?

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That's right.

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It's the highlight?

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So load up a little brush, a pointed

brush, soft Sable with white and get a

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nice little blob of paint on the end.

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And don't even try to touch the

surface of the canvas or the board,

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just touch, paint to paint and dot.

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And if you pick up a little bit of

the under color, clean the tip of

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the brush again and dip it against

what's nice, fresh paint and dot.

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Okay.

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It's time to start blending on

some of the highlights on the face.

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And I have a soft little blender

brush here that I like to use.

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It's good for small places and

I have another bunny brushed.

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It's good for big places.

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So I'm going to try some

of the larger areas first.

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And here's the technique you pull the

highlight out from the edge and blend it.

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Over the curve of the face,

following the curve of the cheek

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and down into the red that you

painted for the Rouge of the face.

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See what a lovely, soft,

bland of color you get.

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Their little Apple cheeks.

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Now I seem to have a

little extra paint here.

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So what I'm going to do is

I'm going to push that back up

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and cleaned my brush as I go.

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That's a perfect example of

what happens when you have a

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little too much white there.

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Of course I did that deliberately

so that you would know what

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to do in case of an emergency.

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And now I'm going to blend along the base

of the lower eyelid using a smaller brush

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and.

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Out from the top of the

highlight highlight.

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00:19:30,810 --> 00:19:36,030

Now, the idea is that you run to try to

keep as much of the painted, highlight

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00:19:37,140 --> 00:19:41,370

unblended in the center as possible

so that it stays fresh and clean

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because you have wet paint under there.

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00:19:44,340 --> 00:19:47,490

It's easy to muddy it

up if you over blend it.

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So the idea is a light touch.

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Don't over blend it.

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okay.

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Blending all my lip,

blending all my little Chan.

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now about now, you really ought to be

able to see a little face emerging.

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Can you see that face

coming out of the board?

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There?

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I'm I'm so close.

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I really can't see that,

but I'm sure you can.

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I'm going to add a little touch,

more red here on the lips.

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All right.

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It's time to begin to work on the shadows.

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We've spent a lot of time,

really on the lights.

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Let's work on the shadows.

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Uh, burn Sienna using the brush

that I had loaded for the eyebrows

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and eyes will work just fine.

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So you don't really need to clean a

brush here and a little burn Sienna,

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draw a line along the nostril wing,

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redefine the filter from there.

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That's a little soup strainer, and

I'm going to really define the opening

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of the mouth here and make a little

shadow at the each end of the, uh,

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mouth opening to create a little bit of

a smile or a little happy expression.

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We want a happy little Indian.

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This is a happy painting

and a happy little Indian.

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and up along the upper eyelid, Cain has

important when painting very young phases

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in babies that you, um, be sure not to

overwork the darks and, and not give them

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too many, uh, shadows, because it can.

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Age the baby.

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So I'm going to define a lower John now.

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Okay.

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And it's time to blend that in a

little bit and we'll put the hair on

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and we'll soon have a little face here

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00:22:43,895 --> 00:22:45,365

and my little soft blender brush.

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This is called a mop sometimes

when you use it just for blending

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and it's a little round brush.

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Some painters like to call it a mop.

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All right.

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I'm going to move along here

and start painting the hair.

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I'm going to the pallet and I'm going to

mix up Bert umber and I've read black and

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I'm using a great big Ocker well brush.

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Okay.

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00:23:40,354 --> 00:23:44,044

From the center out and a long

the shape of the head, we want

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00:23:44,044 --> 00:23:45,635

to follow the form of the head.

297

00:23:46,925 --> 00:23:47,254

Okay.

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00:23:47,610 --> 00:23:53,280

Gave him some little hair

hanging down by his face and ear

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00:23:56,629 --> 00:23:58,040

and a few little wispies

300

00:24:01,490 --> 00:24:03,169

sticking out from the headband.

301

00:24:10,310 --> 00:24:14,379

And while we're up here, let's paint

a feather in and down in and down.

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Along the chisel of the brush

in and down in and down,

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Kane are going to paint a

little vein in the feather.

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00:24:42,305 --> 00:24:43,955

K that's our little Indian boy.

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00:24:43,985 --> 00:24:45,425

He's coming right out here.

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And of course we have to finish up his

head band and give him a necklace and

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00:24:52,625 --> 00:24:54,365

we'll just keep this very vignetted.

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00:25:04,925 --> 00:25:05,315

okay.

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00:25:05,315 --> 00:25:06,665

A little blue ornament

310

00:25:18,815 --> 00:25:20,105

and a few blue beads.

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00:25:52,305 --> 00:25:59,055

And perhaps a little white to

show where the costume comes in

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a little stroke of white here.

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00:26:02,415 --> 00:26:05,235

We'll show the edge of a

neck of a little buck skin.

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00:26:05,715 --> 00:26:07,125

This is really a little baby.

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00:26:07,125 --> 00:26:09,405

So he has a very short neck.

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00:26:19,445 --> 00:26:27,695

little ornamentation on his Rosa at there

on the, uh, little amulet that hangs down.

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00:26:38,795 --> 00:26:43,895

And here we have a little Indian

painted with ease, no effort, very

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little mixing, and a whole lot of fun.

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I hope that you enjoyed that.

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Vernon.

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We'd like to thank you very, very

much for being here with us today.

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On behalf of all of us here,

we'd like to wish each and

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every one of you happy painting.

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God bless.

325

00:26:58,000 --> 00:26:59,040

Hope to see you next week.

326

00:26:59,399 --> 00:26:59,909

Bye bye now.

End .srt file.

Bob Ross' The Joy of Painting

Friday, December 25, 2020

S05E12 - Indian Girl

Bob Ross's

The Joy of Painting

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