Bob Ross's

The Joy of Painting

S07E05 - Portrait of Sally

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Hello.

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Welcome back today.

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I have a special surprise for you.

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It's an absolute pleasure to introduce you

to one of America's leading artists, a man

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that I have admired for many, many years.

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I'm proud to present to you today, mr.

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Ben stall.

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Born in Chicago.

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He began his art career at

age 16, exhibiting his works

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at the Chicago art Institute.

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And since then has received over

50 national awards for his works,

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including the coveted solstice gold

medal from the national Academy.

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His works have been displayed in numerous

periodicals, such as a Saturday evening,

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post American artist, cosmopolitan,

Esquire, and many, many others.

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Ben has taught painting at the Chicago

art Institute and the American Academy

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of art and has lectured across the.

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Country at many schools and

colleges, he was a founder of the

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famous artist school in Westport,

Connecticut, as well as a noted writer.

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One of his children's books Blackbeard's

ghost was made into a film by Walt Disney.

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Ben is also the host of the

television arts series journey into

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art with Ben stall, a 26 part series

designed to teach the viewer several

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different painting styles said

Norman Rockwell had been stalled.

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We are, but illustrators.

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Ben stall is among the masters.

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So without taking up any more

time, I'd like to welcome

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you to the joy of painting.

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And thank you for being

with us today, Ben.

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Well, thank you very much, Bob.

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It was very nice introduction.

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Uh, I want to get right

into this painting.

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I'm going to do a girl's head.

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I don't use models.

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So what I do is I.

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Make drawings.

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I make a lot of drawings beforehand,

and here are an example of some of the

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drawings, which will be turned from

drawing into paintings on this canvas.

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Uh, I try to get all the bugs

out of the, and the problems

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out of it by doing this first.

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And I decided I'd using preps.

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This little drawing appear to be

the head that I intend to use.

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Next, could I talk about

color of the palette?

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Uh, in the world we have a world,

we have earth and we have sky.

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So I use umbers.

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And CNS raw CNAs and red,

the reds as earth colors and

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the green of course is earth.

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But the blue part is sky.

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Then everything in nature is hot.

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Or cold and various degrees in between,

but basically everything is hot or cold.

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Now I start out with a cold RA, burnt

umber cold, a raw umber is warm bird.

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Sienna is cold.

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Raw Sienna is warm and then a lemon

yellow, which is cool, but I mix lemon

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yellow with the red here and I get a

beautiful cadmium yellow, which takes

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care of the warm yellow, uh, Then, of

course the Vermilion Cole, the warm

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red, and then alizarin, Crimson cold.

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And then surillian blue,

which is actually warm.

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There's a lot of warmth and Ceridian blue.

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There's a lot of sunlight and air

and atmosphere in surillian blue.

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And it seems to be in just about every

place throughout the earth world.

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Then the cold one is outer space.

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You might call it and that's the cobalt.

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It's very deep, strong.

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I have a green here it's called a

maximum green eight, which mixed with

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any of the colors provides a magnificent

array of greens better than any kind

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of green I've ever seen or used.

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Okay.

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That's my palette.

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Now I do use other colors,

occasionally a flesh tint.

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That's a funny use.

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I use it for everything except flesh,

but it's a beautiful color analysis.

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Use Naples yellow.

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Uh, but this, for this palette, I

wanted to keep it as simple as possible.

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So now I'll start

painting and wish me luck.

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It goes,

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I have toned the canvas.

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I always told the canvas

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first it kills the awful

strong white of the canvas.

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Things look better painting

against the tone than painting

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against white, pure white.

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Now, this is black.

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I didn't mention, I use black here.

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Black Renoir called the

queen of all colors.

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And Ray Monet said he never used black.

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When they asked how come he gets such

beautiful colors, I had never used black.

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So that's the way it goes in painting.

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uh, I mentioned earlier that I do not use

models, but that is based on many years

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of using models and drawing from a model.

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And studying very hard, practicing,

drawing, very hard edit.

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Uh, it isn't surprising at all

that men like Degas, Rubens

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and great masters of the past.

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Rafiel all the rest Michelangelo

they drew from imagination.

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And it seems to me that Drang drawing

these days is almost a lost art.

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People are drawing.

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Like they used to.

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And especially the people who

are just starting out drawing

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can be more fun than painting.

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And, uh, if you could do things with

drawing that you can't do with penny,

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you get the essence of the thing.

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Simple, fast, quick.

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And I recommend that anybody taking

up painting for the first time should

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start out doing a lot of drawings.

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Now, here's the thing in this painting,

you can see how I smear in the lips.

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You don't have to draw outline lips,

outline, eyes, outline the face heads

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and different things, but do a, a

general overall, I call it just a smear.

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Like I'm starting out

this business of the head.

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I don't know exactly what I'm going to do.

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In fact, Degas once mentioned.

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He said that an artist does his best

work when he doesn't know what he's

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doing, because, and the reason for that

is that art is largely instinctive.

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It's instinct based on

training and practice.

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It's the way a pianist hits

the right keys on the piano

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instinct, but it's based on study.

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And Rafio once said about drawing.

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He said, When one doesn't think when one

is drawing, it works out better that way.

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Now those are two with a

very, very great grasp grasp.

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I have used spray glaze on the

background of this painting and killed

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all of the whites, the lights that

are strong because they're too harsh.

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It's better to work into a toned colored.

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A good way to do is spray.

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Uh, the, uh, uh, with fixed diff

I'd rather spray the canvas, uh,

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with, uh, I wanted this case.

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I used spray glaze, but you can

also mix, uh, retouch, uh, um,

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uh, paint, uh, uh, the stuff they

used in lighter, lighter fluid.

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Use lighter fluid instead of

turpentine and it dries very

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rapidly or tone your canvas with

a mixture of turpentine, right.

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Uh, and then work into it.

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You know, this is how I try to

establish the big effect of the thing.

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First, you don't start with some

detail, you start with a big

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effect, then you could carry this.

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If I wanted to, I could spend

another week on this painting.

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And go all into detail or would

explain everything detailed.

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But I like to do things as suggest things

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I'm just sort of suggesting and

strengthening under that chin.

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I feel the main job of an artist is to

find the things in nature that the average

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person cannot see then put them on canvas.

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But doing a better job than

of art the nature, but why?

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Because nature is everything.

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Except in artists only a

human can appreciate art and

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only a human can create art.

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The trouble is too many artists

merely copied nature's work

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instead of creating art based on

nature, based on nature's rules.

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And if you study natured, not only just.

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What it is, what it looks like,

but why it looks that way.

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And then you paint exactly

in the same manner.

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the point I'd like to make is, uh, it's

on watching demonstrations, such as this.

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If you want to improve, don't just sit

back and watch a demonstration in the

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same way you watch a magician perform.

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Try to analyze why and how he did it.

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Your self must become your own

best teacher and avoid like the

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plague of painters, methods and

results, which are closer to

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Houdini than they are to Rembrandt.

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Oh, in other words, avoid

trickery, do it the hard way.

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Do it.

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The traditional way, the way painters

have been painting for centuries.

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Yes.

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Now as I'm painting, I'm

doing all this instinctively.

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I, I feel a need for something.

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And then I fulfill it with a stroke

of a brush or a smear of color ever.

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Heaven say don't paint pretty.

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That can be the death knell for any

work of art, prettiness, sugarcoated

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pictures, develop taste, and you

developed taste only by going to

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the museum and studying the masters.

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Taking a look at masters work here.

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I'm using spray glaze.

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And it puts a tint of color

over the, into the wet paint.

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Artists have been that yellow, the glaze

of yellow shooting all into that thing.

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This is the oil based paint itself.

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You can use it with water or any color.

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Pastel works equally well.

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And, uh, artists have been

using glazes for years.

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That's how the old masters got luminosity

into things, but this spray glaze allows

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you, but they had a glaze into dry paint.

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That canvas had to be dry for about

two or three weeks, but with spray

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glaze, you can glaze and spray right

into wet paint and colors will happen.

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I just fantastic.

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it's generally wise to paint with

hot colors below and cool colors.

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On top.

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For instance, a tree, the

green out of a tree is living.

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It's warm.

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The human body is warm and the colors

you put into it are warm underneath.

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And the colors that nature puts

into a living thing are warm

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underneath on top is sky color.

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That's the coolest.

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So as you paint, paint, warm, especially

in the case of flesh paint, warm

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flesh, and then paint your cool colors.

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I'm top of that.

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This is why it's so important to layout

your palette with warm and cold colors.

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Take a look at Rembrandt the way he used

cold, uh, combinations of cold and warm.

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It's very effective.

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The object of painting is

to make a picture look good.

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You should study and take advantage of

all the things that make it look good,

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but without making it look tricky,

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also, it might say you learn to paint

by painting and you learn to draw,

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which is almost a lost art these days

by drawing, but you only learn how

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to understand what art is all about.

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It was by studying great arts and looking

at nature, not so much what she is or

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what she looks like, but how she works.

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This is the aspect of nature

and artists must imitate.

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Most of all.

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And don't be conned into believing a

painting as good because as marvelous

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detail or as slick, clever and

flamboyantly rendered, remember a whisper

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can be more potent than a shout and that

like nature, good art tells no story or

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at least merely uses story as a means.

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Not an end.

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I'm beginning to.

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Fill in, I've got the headaches

established, but I'm working in some

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interesting stuff into the background.

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You can use any kind of color in anything

nature uses color and everything.

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Don't think of say an orange is orange.

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It has to be orange.

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You can paint a purple orange,

underlying all things it's formed.

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That's the most important thing.

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Far more important than color.

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A great painting by Renoir and

black and white is just as great in

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black and white as it isn't color

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goes for any of them.

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Be creative, try to create new forms,

make everything you paint your own.

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Not nature's not somebody

else's make it your own.

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You paint leaves on a tree, make them

your own leaves, make them the kind

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of leaves that nobody ever saw before.

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But yet everybody will know their leaves.

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This is the real interest in learning

to paint and an art makes art, art.

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Line is very important line in

relationship to tone flat areas of tone.

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And this is why I'm putting in this line.

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It creates more interest

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in a, in an orchestra.

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Tone would be the trumpets and

the tubers and that sort of thing.

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But line would be the flutes and screen.

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Listen to great music.

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You will see the way composers have used

line strings and flutes strings woven

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through the tonality, the deep flat areas.

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And an artist must do the same

and you can learn a lot about

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painting by studying music.

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And a lot of musicians can learn a lot

about music by studying great painting.

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You notice how these little

flicks of color I hit in there.

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Like they're just dancing,

like fireflies in the night.

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And use a pellet that you see here

and your fingernails and your fingers,

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but a pellet knife is very good.

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It's also fine for scraping out

areas and sometimes you'll scrape

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out the area and it will look a lot

better after you scraped it out.

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and scumble and vary your brush strokes.

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Don't have, don't make two

brush strokes alike on a canvas.

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Keep twisting that brush in your

fingers like I'm doing now, make it

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work for you and constantly be all

excited about what you're doing.

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that's a start.

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You're going to have a lot of trouble.

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You're going to have more failures

than good ones, but it's the only way

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do you want to play on

a miniature golf course?

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All your life and paint

ordinary paintings.

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Okay, let's stop for you.

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You want to get on that big 18 hole golf

course and do a big job, a real thing.

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And use paint, pile paint on in one

area and work at thin and other areas.

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There it is variations.

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Don't do anything the same way twice.

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Okay.

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Well, you see, I'm using my

finger nail to soften something.

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If you look at a great paintings, And

especially the impressionists, you'll

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see their fingerprints all over the

thing, or they'll take a piece of rag

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and slap it against the painting and it,

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well, it's almost finished.

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It's still working with it.

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There's getting a little more form.

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A good idea, for instance, a

painting such as this, I would leave.

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I might leave it as it is, get a frame

and say it's finished, but sometimes I'd

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come back to it and carry it further,

but you must get the big masses.

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This lesson that I've done today

in this case is a good example

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of how to lay in the pages.

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The more you get into it, the more you

get into it, it gets more difficult.

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It gets tougher all the time.

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And this day, God said one time.

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He says, if it wasn't so difficult, if

it were not so difficult, wouldn't it.

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So go at it the difficult

way and have fun.

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scratching into the canvas

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texture.

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I didn't even talk, start talking about

texture, but that's very important.

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Looking at the textures of nature

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00:22:27,784 --> 00:22:32,375

and line could be white and light lines

as well as dark lines, such as there.

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Smoothing out that hair was a

little rough should be darker,

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00:22:51,304 --> 00:22:58,145

but learning how to do things economically

don't make a big fuss over things.

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You can do it in one

stroke, do it in one stroke.

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00:23:32,465 --> 00:23:40,865

It's a little repair work, softening an

edge with my finger and notice I used

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very little paint on the face itself.

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but the best thing I can

say is draw, draw, draw.

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Well, I just see a, but

my time is about up.

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I can spend another week on this, but

this is sort of, at least it shows

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you how to lay in the painting anyway.

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And as you can see, I've thrown

color around with abandon and form.

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But the important thing is to see

that I got in a relationship of

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tone to line you in a painting.

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You work tone.

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To line and suddenly things begin to

happen that are interesting because

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that's really the basic form of painting

is that line and tone combination

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along with values and all the rest.

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But so many students seem to forget.

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They paid too much, just pure in tone,

which is flat tone and not enough

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00:25:18,065 --> 00:25:21,215

of these lines to delineate form.

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So we'll just sorta let's this thing

would go, I can't think of anything

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more to say on the subject or paint

on the subject, but this is it.

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Thank you for watching.

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I did not tell you this man was fantastic.

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This is truly why they call Ben stall

one of the masters and from all of

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us here at the joy of painting, I'd

like to wish you happy painting.

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God bless.

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And we'll see you again.

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Thank you.

End .srt file.

Bob Ross' The Joy of Painting

Friday, December 25, 2020

S07E05 - Portrait of Sally

Bob Ross's

The Joy of Painting

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