Bob Ross's

The Joy of Painting

S07E09 - Lake by Mountain

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Welcome back.

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I'm glad you could join me today.

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You know, we get hundreds and hundreds

of letters, some people all over the

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country telling us what they like

as well as what they dislike about

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the many shows that we've done.

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One of the most popular things that

we've done in the past was having my

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son, Steve, on several of the shows.

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We've got hundreds of

letters praising his work.

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So I thought we were bringing back today.

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And let you spend another half

hour with Steve and let him paint

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a beautiful painting for you.

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So I'm going to turn it over to Steve.

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I'll be back at the end of the

show and we'll see what he does.

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Okay.

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Uh, I guess the best way to show you

is just to start right in with it.

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I've already put a coating of liquid white

on the canvas previous li so now I'll

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start out with a little bit of alizarin

Crimson, tapping it into the brush.

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Always got to tap your pain

in, and it gives you a nice

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even distribution of paint.

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And I'm going to start right in the

center here, always using an X pattern

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that gives you a sky, plenty of movement.

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Right now just looking for a basic shape.

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Don't want to make it anything special

and maybe still with a dirty brush, I'll

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go into a little bit of pressure and blue

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when you're using a real dark color.

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Always start up in the

top corner in your sky.

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Because if it's lightest in the center

here, then it shouldn't be darker.

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As it expands, outward,

making the corners the darker

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10, while we got some paint

on our brush, we can go ahead

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and throw in a little water,

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just pulling in from the sides.

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And maybe we can even throw in a

little bit of that pink reflection

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back in there now with a clean brush,

I'm going to go back and blend,

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always blend with a clean dry brush.

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If you go up there with paint thinner in

your bra, sometimes that whole painting

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under the strip right off the canvas

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areas where there's a lot of thick blue,

you have to blend with a lot of pressure.

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That's how you break up there.

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Colors should look almost like a sheen of

purple in between the blue and the pink.

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And as I blend outward, the sky gets

more and more Misty looking and you can

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do that same trick down in the water.

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Always use the same stroke.

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You used to put it on and to blend it.

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And remember pressure is the key.

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When you get into an area like this,

where you have lots of streaks, or

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like when you're trying to blame the

pink out, you just mash real hard with

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the brush, send it right on out there.

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After you get through with that,

you can use your fan brush.

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I had to get the right

choice of fan brushes there.

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We have a number three and a number six.

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I liked the number six is

cause you can make big clouds.

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I think it will put a little

bit of liquid white in there

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and why not make them pink?

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By adding a little bit of a lizard and

Crimson to the white, that makes it

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match up with a scar a little bit better.

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Oh my gosh.

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Might be making a mess here

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whenever you're making clouds.

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The biggest thing you have to remember is

to make sure the light fluffy shapes on

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the top and keep the bottom nice and flat.

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And when you're making small

clouds, you want to make them more

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Stratus type clouds long and thin.

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And when you're making a cloud this way

up high, which means it would be further

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into the distance, you'd make it larger.

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Like this one.

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See, all I'm doing is making

circles with a fan brush as

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long as you're making circles.

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You're okay.

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Can you get too much easier than that?

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Kenya?

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It's a little bit of blending

with a clean two inch brush.

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You want to start blending

down in your pink first?

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Because if you go up here and

blend in your blue and then come

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down in the pink, guess what?

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You get dark purple right down

there in the middle, your, the sky.

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And that's a no-no.

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Okay.

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Once you get the bottom, all

blended out and you get the

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hair out of there, you can.

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Kind of like make your arm going

circles, but yet you're just

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hitting halfway through the circle

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and pulling little strands out

of the clouds and then the land

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real lightly back and forth.

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Okay.

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Now with the pallet knife, I'm going to

take a little bit of blue, Brown, analyser

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and Crimson and mix them all together.

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Kind of marble this color together.

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I know you can't tell what it looks like

right now, but if you take a little bit

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a white and add it to a separate little

amount of it over here, and then you

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can tell exactly what color you have.

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That's always a good trick to know.

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Now I'm just going to take a little

roll of that on the knife, and let's try

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to get in a basic mountain shape here.

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We'll go for something crazy

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and a lot of time on this mountain

shape, because it really doesn't matter.

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It's the highlights that

are important in the show.

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Yes.

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Just trying to get the

basic shape in there.

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That's what makes this method so easy.

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Okay.

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Scrape it all the way down to bare

canvas and then pull out or due to age.

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Try not to kill all that pink down

at the bottom of your mountain.

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That'll be your nice little Misty area.

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As a matter of fact, you can take

a moderately clean two and a half.

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Yeah.

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Brush and kind of do some of

your axes down at the bottom.

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There

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don't wanna play with it too long.

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Sooner you get to those highlights.

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The sooner you can have fun.

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See, I got a little bit of

that pink mixed in there.

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and all I'm doing is just

barely touching and letting the

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knife slide across the canvas.

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Adding no pressure at all.

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And the shakier you are with

it probably the better that's

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what makes that paint and break

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sometimes it's kind of hard to

tell where you're supposed to

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put your light on a mountain.

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So if you kinda think of it, uh,

like you were sitting in your room

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at night, And you had your desk lamp

shining on a book you were reading and

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the desk lamp was closer to the right

side of the book than the left side.

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Then obviously the right side of the

book would be lighter in the left

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side, would have a shadow cast on it.

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And that's what we're trying to get here.

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Same effect.

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And once in a while, you got to

change the shape of one of these.

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If you get them all just to like,

you know, you start getting that

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stairway look or that one, two, three,

look, you know, that's not good.

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I kind of broke the big one up

a little bit with a separate

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peek over here on the side.

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And right back here, we'll just make

like a little glacier formation.

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And back here, maybe a little

something has happened.

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Okay.

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Now with that base color, I can just

take a little bit of Hawaiian to that.

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And you come up with your shadow color.

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No, you don't want to get

your shadow color too dark.

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That's probably one of the biggest

mistakes I see people make in my classes

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and stuff while I'm traveling around.

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Teaching

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started teaching with my dad about, uh,

Oh, I guess I was about 16 years old.

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But even before that, when I was about

12 years old, uh, one time my dad and

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I were in a mall in Alaska where he was

stationed in the air force and he was

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trying to make a little money on the side.

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So he got up in front of this group of

people and started painting, set his easel

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up and everything started painting and he

got to where he had to use the bathroom.

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And I was the only person

there other than him.

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So.

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He naturally walked off and said, Steve,

go ahead and finish this painting.

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And here I was in front

of 20 or 30 people.

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And, uh, I had to stand there and do a

painting at 12 years old, needless to

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say I was scared to death, but I sold

the painting for $60 at the end of it.

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It's probably just luck.

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Shadowing just like highlighting,

except for you're pulling

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in an opposite direction.

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Yeah

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saying, leave this area in here,

kind of with some dark in it, because

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the sun's not as close to this

point over here as it is over here.

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So try not to destroy

all that dark you put on.

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With your basic first coat, your

basic first mountain shape brother.

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And now I'm just tapping with the

two inch Bryce down at the bottom.

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Don't come into the top of the mountain.

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Just stay right down here at the bottom.

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It's just kind of pulling and tapping and

I'm going to pull straight up into it.

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Just at the bottom,

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see how that pink mist is showing through.

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Now.

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I think that's kind of a desirable

effect and if you're selling paintings

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that works out real good too.

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Now with the one inch brush, maybe

I'll take a little bit of blue

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and some Brown, and that'd be

a little bit of SAP green, too.

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I dunno, you kind of have to make the

colors up in your mind because as you

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get better at painting and you learn

that there really is no one color

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there's varieties of the same color,

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but there's no one color really.

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I'm trying to come up with kind

of a grayish blue color for the

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first background foothills here

with that 10th of SAP green in it.

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And just with the corner of the one

inch brush, I'll come in and just

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make some Foothill shapes here.

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Again, don't worry about this.

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This is just a basic shape.

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Now with a clean one inch brush,

you can come back in and pull

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all these little things up and

it looks just like distant trees.

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Then you have to pull it

straight up straight vertical,

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or people get the impression.

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This is like grass blowing in the wind

back here, but it's awful far in the

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distance for grass to be showing up.

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So try to make it straight up.

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It looks just like little trees.

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And then down at the bottom of

that with your two inch brush, you

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can miss that a little bit, just

using the top corner of the brush.

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As a matter of fact, most of the use

of any brush in this method is with,

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uh, either the corner or the side

only using half the brush at one time.

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Now, underneath that I can make

another layer of foothills.

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Just by darkening at that same color

with a little bit more blue and Brown

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and you want to change the shape of

these foothills a little bit, make them

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a little bit closer to the ground a

little bit lower, you know, not as steep.

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So basically all you're doing is

just throwing in the shape and

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coming back and picking it to death

after that, to get it to look right.

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And once again, Blending down at the

bottom or missing, I should call it.

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Don't be afraid to use these big brushes.

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As a matter of fact, sometimes

they come in more handy than the

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small ones, even in small areas.

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Just got to learn how to use part of

the brush rather than the whole thing.

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Now, down here below

that, just to kind of.

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Cut it off, make it

look like the foothills.

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Aren't just hanging in mid air.

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You can take a little

bit of Vandyke Brown.

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You have to get that roll on your knife

and come in with a little bit of land

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and try to bring the land down out

of the foothills, actually into the

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painting from out of the foothills.

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It's kind of hard to get this effect.

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Cause you have to like ride it down

into the painting, bringing everything

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to the inside of the painting.

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You're always leading

a person's eye into it.

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The foothills come into the mountain.

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And this land comes into the water.

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If I was to make the land go up like

this, instead of around like this,

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then it would look like the Lake was

going clean off the canvas like that,

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but it should look like it's a round

leg, so you want to make it come around.

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So after you get the Brown on,

you take a little bit of white.

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Brown and come back and highlight

this kind of a grayish color

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and you can take that same old, dirty

one inch brush with your same dark

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Foothill color and tap men a little bit.

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Grass down here just to break

up the top of that land.

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And now underneath the land,

we can take the two inch brush.

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This is probably the funnest

part of the whole thing.

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Watch how magical this is

just grabbing the bottom and

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pulling right out of the Brown.

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You get instant reflections.

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Of course.

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Keep the height the same in

the water as it is up here.

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If it's small here, it

should be small here.

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If it's huge here, that

reflection should be huge.

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And then you just go

across that rail lightly.

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Okay.

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Now, underneath that, you want to use your

knife and a little bit of liquid white.

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Oh, we can put a little

bit of Brown in there too.

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Just so it doesn't look so dull rather.

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So white.

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if you put this straight, uh,

liquid white on there, it seems

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to look like a ice or something.

242

00:19:05,419 --> 00:19:08,840

And this isn't really

in the dead of winter.

243

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So I don't think we want any bright ice

on the edges of our land, but you're just

244

00:19:16,370 --> 00:19:18,110

trying to keep it nice and horizontal.

245

00:19:37,415 --> 00:19:40,895

now I'm gonna wash one of my two inch

brushes since I dirty them all up.

246

00:19:43,925 --> 00:19:44,735

I gotta do that some more.

247

00:19:46,275 --> 00:19:46,995

That's pretty fun.

248

00:19:52,875 --> 00:19:54,975

Just going to blend the

water in a little bit here

249

00:20:00,345 --> 00:20:00,485

now.

250

00:20:00,485 --> 00:20:00,945

Let's see.

251

00:20:00,945 --> 00:20:02,205

What else did this painting need?

252

00:20:02,205 --> 00:20:03,615

Maybe a couple of big trees.

253

00:20:08,415 --> 00:20:13,185

I'll take a little bit of Brown and blue,

maybe a little bit of green Elysium.

254

00:20:13,905 --> 00:20:14,565

This, that.

255

00:20:16,110 --> 00:20:17,040

See, it really doesn't matter.

256

00:20:17,040 --> 00:20:20,429

What color is you mixed together for

certain things, as long as it's dark.

257

00:20:22,050 --> 00:20:26,909

So I try to get a nice variety

of color, just loading the

258

00:20:26,909 --> 00:20:28,409

fan brush to a chisel edge

259

00:20:34,490 --> 00:20:40,520

and tapping in kind of from side to side.

260

00:20:59,270 --> 00:21:01,879

and just make that tree go

right on down to the bottom.

261

00:21:19,054 --> 00:21:20,885

that tree's probably going

to get pretty lonely there.

262

00:21:20,885 --> 00:21:22,685

So maybe I'll make another

one right beside it.

263

00:21:27,960 --> 00:21:32,310

This one will be kind of

crooked, not every tree straight

264

00:21:32,310 --> 00:21:33,480

up and down in the painting.

265

00:21:42,270 --> 00:21:50,939

And maybe just by smashing in getting

the bristles to go down, but yet the

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00:21:50,939 --> 00:21:53,070

bristles right here are spraying up.

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On the fan brush and the

ones in back are moving down.

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00:21:57,660 --> 00:22:02,130

So you get kind of little pieces

flying up into the painting.

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00:22:02,790 --> 00:22:04,980

It looks like little grass

sprigs flying out there.

270

00:22:08,580 --> 00:22:09,300

Okay.

271

00:22:09,420 --> 00:22:16,590

Now I can go in with a couple of trunks

he's in my knife, pull it out, flat,

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stick it straight down in and pull through

and you get that roll on the knife.

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00:22:21,900 --> 00:22:26,400

And you come up to the canvas,

touch, touch, touch, don't bring

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it all the way down, just down

to about the halfway point.

275

00:22:33,560 --> 00:22:35,150

And then I can go in

276

00:22:38,990 --> 00:22:40,550

with a little bit of highlighting.

277

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Do you see using the fan brush a little

bit of that bright green and maybe

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00:22:45,740 --> 00:22:47,300

we'll even put some yellow in here.

279

00:22:51,965 --> 00:22:55,865

sometimes you have to thin down your

paint with a drop of paint, thinner

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to get it to stick since a thin paint

sticks on top of the thick paint,

281

00:23:04,415 --> 00:23:08,645

doing this touching back

and forth, not every branch.

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And as you get closer to the bottom,

the leaves haven't been able to capture

283

00:23:15,540 --> 00:23:17,040

as much chlorophyll from the sun.

284

00:23:17,040 --> 00:23:18,990

So obviously they're going to be darker.

285

00:23:22,790 --> 00:23:24,680

Keep them nice and bright

up here at the top.

286

00:23:25,010 --> 00:23:27,050

Heck maybe we'll even put

in a little bright yellow

287

00:23:41,250 --> 00:23:42,460

Maybe get a little bit of paint there.

288

00:23:44,400 --> 00:23:46,440

Now I'm going to pull

through the cadmium yellow,

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00:23:51,860 --> 00:23:52,790

come up to the canvas.

290

00:23:52,790 --> 00:23:57,020

I've turned the brush over with a

heel to the top, and I'm just going

291

00:23:57,020 --> 00:24:02,090

to touch barely touching and try

not to kill all of those dark areas.

292

00:24:03,140 --> 00:24:04,820

Those dark areas have gotta be saved.

293

00:24:08,360 --> 00:24:10,490

and maybe we'll work with

a different color now.

294

00:24:11,149 --> 00:24:14,209

So I'm yellow ochre and maybe

a little bit of this bright red

295

00:24:20,209 --> 00:24:21,139

that's almost too buy.

296

00:24:22,610 --> 00:24:25,370

Well, maybe we'll even get crazier

than that and go for a fireball.

297

00:24:26,899 --> 00:24:30,290

If you're going to put red in your

painting, put it right in the center.

298

00:24:32,040 --> 00:24:35,129

And maybe a tiny bit out towards the

edge, just to show that there's not

299

00:24:35,129 --> 00:24:39,899

only one Bush that color, but you have

to have it in the center because red is

300

00:24:39,899 --> 00:24:42,060

what draws a person's eye, the quickest.

301

00:24:42,570 --> 00:24:44,610

And you want to leave that all

into the center of the painting.

302

00:24:44,610 --> 00:24:46,439

So put it right there.

303

00:24:51,229 --> 00:24:51,350

Yeah.

304

00:24:51,370 --> 00:24:53,389

Back in here, maybe we'll

have a different shape.

305

00:24:53,389 --> 00:24:53,570

One.

306

00:25:01,175 --> 00:25:04,775

and possibly even a little bit of

land underneath that, it looks kind

307

00:25:04,775 --> 00:25:09,455

of bare just using Vandyke Brown.

308

00:25:09,455 --> 00:25:09,785

Again.

309

00:25:36,710 --> 00:25:37,040

okay.

310

00:25:37,040 --> 00:25:38,510

I'm going to highlight that now.

311

00:25:39,860 --> 00:25:41,660

A little bit of Vandyke Brown and white.

312

00:25:47,870 --> 00:25:50,720

and maybe Sarah, a little

bit of grass on top of that.

313

00:26:07,550 --> 00:26:09,180

just to break up that land a little.

314

00:26:11,340 --> 00:26:11,490

Yeah.

315

00:26:11,490 --> 00:26:16,350

Maybe we'll even go in with a

few sticks just here and there.

316

00:26:23,610 --> 00:26:26,160

And there could even be some

up through the trees here.

317

00:26:27,570 --> 00:26:27,810

Mr.

318

00:26:27,810 --> 00:26:29,220

Break up the monotony a little bit.

319

00:26:33,750 --> 00:26:35,010

Yeah, we'll take all sign that one.

320

00:26:37,050 --> 00:26:40,500

With my liner brush and some bright

red, we always use bright red to sign

321

00:26:43,889 --> 00:26:44,750

the buyers.

322

00:26:44,750 --> 00:26:46,189

I attracted to your painting

323

00:26:52,010 --> 00:26:53,300

as well as your signature.

324

00:26:54,110 --> 00:26:54,199

Okay.

325

00:26:54,679 --> 00:27:00,709

So if you use red to sign your paintings,

you don't ever have to worry about

326

00:27:01,250 --> 00:27:03,169

nobody's seeing it cause it shows up good.

327

00:27:07,415 --> 00:27:08,764

Steve sang his painting.

328

00:27:09,185 --> 00:27:12,784

I'd like to step in here and thank

him very much for being with us today.

329

00:27:12,995 --> 00:27:15,754

We've certainly enjoyed seeing what he

could do in just a couple of minutes.

330

00:27:16,264 --> 00:27:19,415

We send Steve all over the country

and he teaches hundreds of people,

331

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the joy of painting and from Steve.

332

00:27:21,334 --> 00:27:23,375

And I we'd like to wish

you happy painting.

333

00:27:23,885 --> 00:27:24,485

God bless.

334

00:27:24,834 --> 00:27:25,084

Bye.

End .srt file.

Bob Ross' The Joy of Painting

Friday, December 25, 2020

S07E09 - Lake by Mountain

Bob Ross's

The Joy of Painting

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