Bob Ross's

The Joy of Painting

S08E11 - Mountain Range

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Hi, welcome back.

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I'm glad you could join me today.

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Today.

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I have a very special treat for you.

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I'm very proud to present my son.

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Steve, Steve is a fantastic artists

that we send all over the country

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to teach the joy of painting.

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And I've asked him to come in

today and to show you what he can

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do in just a couple of minutes.

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So we're going to turn the show over

to Steve and I'll be back at the end

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of the show and see what you've done.

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Thanks damn well.

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I've already covered the canvas with

a thin even coating of liquid white.

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And the way I'm going to start out

today is just touching the brush

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into a little bit of a lizard and

Crimson and bringing it out into

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a separate space on the palette.

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Just tapping it straight down.

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Turn your brush over.

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Tap tap.

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Now when the Elizah and Crimson hits the

liquid white it'll turn a pink color.

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It won't look like it does on the palette.

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So I'm just going to start right in

using horizontal strokes, but holding the

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brush sideways instead of the traditional

flat way like this, this gives you a

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little bit more movement in your sky.

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And with that same dirty brush can get

a little bit more alizarin, Crimson,

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and maybe a touch of fellow blue.

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And I'll come right up here

to the left-hand corner.

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And you just kinda bring that right down

under the Elysium and always keep your

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corners, the darkest, because your son's

coming from the center in this painting,

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maybe a tiny bit of light blue in the sand

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and.

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A little bit more in blue,

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grew up into this corner

and make it real dark too.

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And we'll pick up a

little bit more of that.

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And throw some water in real quick

while we got it on the brush.

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It's important that you use mostly the

same colors throughout the whole painting.

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It captures the arm better.

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If you do, if you use 70 different

colors in one painting, it

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usually doesn't look too good.

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And I might even throw a little

reflection in the center there.

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Now that we've got all our shapes in here.

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I'll go back with a clean brush and just

blend that out, blend in the Elizah.

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And first, because once you hit

blue with your brush, I don't

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destroy any Elizah and it hence,

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always using that ax.

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That's what gives you that movement?

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If I was just to brush it

straight back and forth across,

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it'd just be one solid color

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And since your corners are real dark,

make sure you blend them real firmly.

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The more pressure you add on the

brush, the more the pain will move

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for you and do a little hypnotizing.

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And come down here in the water,

just pulling this all straight in.

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Okay.

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Now I'm going to use my fan brush

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and just going through a

little bit of titanium white.

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And you can add a touch

of a lizard into that.

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Maybe make your clowns kind of pink.

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Now this painting is going to have big

clouds in it to start on right here.

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Sometimes you don't want

such a bold looking cloud.

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And if you didn't, you'd use a, probably

a number three fan brush rather than

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a number six, like I'm using it's

really your choice, little clouds,

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big clowns, whichever you prefer.

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And that's what you do.

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If you get it here and your clown.

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clouds are usually real flat on the

bottom and nice and puffy on top.

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If you remember that, you

really can't go wrong on clouds

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now with my big brush,

preferably a clean one.

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I'll blend the bottom of the cloud out.

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I never touched the top of the cloud.

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That's where you want the

most of your highlight to stay

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and just pull up on a tiny bit.

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This is real light, three hairs,

and some air as my dad would say

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and hypnotize it.

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okay.

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And that about does it for the sky.

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Now I'm going to take my palette knife

and go through a little bit of Brown.

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And a little bit of a lizard and a little

bit of blue kind of Stripe them out

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like that into three different piles.

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And then take a little bit from

each one and put them together in

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the center and mix that together.

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Real good.

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Kind of gives you a dark purple

color and we'll come right up

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here and make a big bold mountain.

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Well, it's important that you don't

kind of linger around here and mess

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around with this shape too much.

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Cause it really doesn't matter.

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As long as you have three or four peaks,

uh, the highlight is what really counts.

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That's what really makes your mouth.

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Okay.

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Probably the thing I would want to tell

you to stay away from right here is

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getting too much paint on the mountain.

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You want to scrape it all the way down

to bare canvas and then go back in

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with your big brush and pull it out.

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And that way you get some

of this paint glow down here

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to mix in with the mountain.

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Sometimes, whether you do it on purpose

or not, it's good to leave a real dark

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line in back of the mountain because

that kind of makes it look like a super,

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super dark shadow when you're done

putting the highlights and shadows on.

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Sometimes that just turns

out as a happy accident.

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It usually just ends up there on purpose.

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In other words.

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Okay.

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And all I'm doing is just getting a roll

of paint on the knife, like this, just

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pull it out flat, go straight through

and you get your roll and touching.

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And just barely, this is a

light as a feather pulling,

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and I've got a tiny bit

of a lizard in there.

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Just like in the clouds

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and maybe this mountain will

have a big Valley in it.

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You ever see that show the big Valley.

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That's where this mountain comes from.

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Now I'm going to mix up a little

bit of shadow color and to do that,

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you just use the base color that you

use for the mountain a little bit.

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Yeah, white and some impression blue.

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No, you get a roll on your knife, just

like you did with a white, except this

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time you push it up into the white

a little bit and pull away from it.

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And that drag some of that line out onto

the shadow side of the mountain too.

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So it doesn't just look like it's

split directly down the center,

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push up and pull.

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It gets kind of tight, right?

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In these curves, in the

valleys right there.

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And you have to come back and

clean that up a little bit.

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Sometimes see, like

right around this edge,

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I don't want to come back.

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and maybe over here we'll

have a tiny little glacier

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and that need how you can just

decide what you want in a painting

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and just put it right in there.

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Makes it so easy.

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Just like my dad, I use a little

brushes for a long time before

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I ever started using big ones.

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And it's just, there's no

comparison at all too much, too much

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piddling around with little stuff.

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Okay.

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Throw a shadow behind that.

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And we're just about

ready to make our mist.

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And to do that, we take our

big brush, tap, tap, tap, tap

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with the angle of the mountain

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and pull up with the angle.

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And if you have a shadow crossing over.

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Uh, your light, like right here,

then you can come back and put

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one or two little strokes there.

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Cause obviously you can't have

a shadow casting highlight.

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Okay.

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Now with my one inch brush, I'll

take a little bit of our base

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color and Brown alizarin and blue.

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Okay.

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And mix those all together.

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And maybe I'll even

throw a tat a SAP green.

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Yeah.

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Yeah.

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And two that you mix white.

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Probably the ugliest color you could

get at this point, wouldn't be the

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best one to use because ugly colors

look more natural in a painting,

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then real bright flashy colors.

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You don't see what I

mean here in a minute.

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Now without destroying the mist you have

on the mountain, you just want to tap in

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and shape kind of a rolling Hills shame.

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Don't make it any harder

than it is though.

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Just as easy as it looks, just splattering

it right in and with a clean brush,

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I'll come back and lift that up.

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Just maybe a quarter of

an inch, right on the top.

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And this gives you the illusion,

a little trees in the background.

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Now, if you don't pull it straight up,

it'll look like grass and we're definitely

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too far away to be seeing grass.

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Yeah.

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And when you get down in

here, just pull all this up.

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And then take the edge of your

brush and smash in, and there's a

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creating this down at the bottom.

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You can pull that up

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now with that same dirty brush I used for

the first Foothill, I'll let a little bit

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more Brown and blue always makes your pain

on your brush so you can get a marbled.

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Effect in your car.

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If you mix it up with a knife and

you just have one flat color and you

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don't usually see that in insurance

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and try to keep your shapes a

little bit different on this one.

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And like before pull this up.

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Okay.

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You want to get really realistic about it.

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Then you should pull these trees up a

tiny bit higher than the last row, because

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they are getting a tiny bit closer to you.

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I've been traveling around teaching

classes since I was about 15 years old.

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I started out with my dad and by the time

I was 17, I was teaching my own classes.

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And I'll tell you one

of the biggest things.

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About teaching painting.

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It's not really the teaching of

it, but once you get out of the

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teaching of it, and once you get out

of the teaching of it is practice.

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Of course, when you go into a

classroom and teach people how to

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paint, you might do 30 paintings

worth of bushes or something, trying

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to show them exactly how to do it.

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So sometimes teaching

can be a way to learn.

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Now over here on the left side, I

think I'll throw in a bushy tree.

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And what trees are, is just

a lot of bushes in the one.

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So you make each individual Bush

and kind of bring them all together.

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See how this is a Bush here.

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And this is one here,

and this is one here.

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Yeah, they'll just kind

of bring a raw grass.

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That's a little bit darker

right in front of the foothills.

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And you want to kind of make it come

around like this so that when I pull

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the reflections out, it'll look like

this is around the band or something.

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It leads the eye into the painting

rather than out of the painting.

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If I had the land going up like this, then

you'd want to just have your go right out.

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Now I'm going to put in a little trunk.

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This is just using Vandyke

Brown, just touching.

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And the way I'm doing that is

just getting a tiny roll of paint.

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Okay.

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And touching the canvas real

lightly down here at the bottom.

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Of course, the trunk is going to be a

little bit fatter to hold up that top bar.

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And maybe a little bit

of highlight on that.

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I'll just use a little bit

of Brown and white together.

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Just kind of pulling across the Brown,

letting the thick areas pick up the light.

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So it'd be an old Birch tree.

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and with the same dirty brush,

he used to make the tree.

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You can go into a little bit of paint

thinner and through some cadmium

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yellow, just kind of pull him through

the paint until you start to see little

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bushes in the paint, like right there.

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And that's when you know, you're

ready to turn the brush over

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where that heals to the top.

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And come in and just barely touch.

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Sometimes it looks like we're

taking a run and jump and leap and

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smashing it in, but we're really not.

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We're just doing it real lightly.

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And remember where your

light source is coming from?

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It's coming from over here.

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So you don't want this side of

the tree over here to be darker.

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And don't bring leaves all the way

down to the bottom of the tree.

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Now with that same color.

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Well, I've already got it on my bra.

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I shall go out here and

make a few little bushes

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one here, and one there.

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You don't want to make

them all the same color.

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So I'll take a little

bit more paint thinner.

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It's still using that same dirty brush.

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You can almost get away with

not ever cleaning the brushes.

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If you do it just right.

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This is yellow ochre I'm using now.

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It's not the prettiest color, but like I

said, at the beginning of the painting,

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all colors, aren't supposed to be pretty.

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And.

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Maybe some Indian, yellow?

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No, there was a little trick that I teach

my students when I'm out traveling around.

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Uh, if you're going to put any

sort of red in your painting.

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Then do you want to put it in the center?

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Because the eyes always most

attracted to the brightest color.

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And if you put red in a painting,

then obviously it's going

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to be the brightest color.

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I like to mix red and Indian yellow.

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It gives you a real fire color and

you don't need, but maybe one of

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these or one little teeny idea of Ram.

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So you can see how much difference

that makes now, underneath all this

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stuff, hanging over the water will

drop a little land and you do that

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just by getting a role like you

did for the mountain and touching,

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and then pulling.

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And sometimes you can even pull

and then drop over like this.

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That gives a real good effect.

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Still keeping that round band luck.

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and to highlight that we'll use

that same old Brown and white color,

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maybe with a tiny bit of blue in it.

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and I'm just letting the white

pickup on the Brown where it's

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real thick and the real dance.

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Well, it's important that you

let some Brown come up into your.

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Bushes and stuff too.

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So I can come back with a fan

brush and a little bit of yellow,

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maybe a drop of paint

center to sing that down

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and make some grasses.

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now I take my big brush and pull

just a tiny bit of this out.

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Just barely grabbing the edge of the

land and see as the land gets bigger.

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So does a reflection naturally.

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So when you get all the way over here,

pull it all the way down to the bottom,

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and then you can use a clean

brush or a semi clean in this case

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to go back and forth, make

it look more like water.

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And now I'm ready to make

my dreaded waterline.

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This is where I run into more problems.

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When I'm teaching, everybody has

problems with their water line,

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you pull it out flat like I did

there and you cut across it.

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And what you're doing is just

getting a real fine line of

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white on the edge of your knife.

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And then you're cutting it straight in.

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Almost like you're trying to

cut a hole through the canvas.

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Can keep it straight all

the way around the band.

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I know that sounds hard.

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And you'll have a tendency to want

to put in a sideways line, but don't

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ever do it always keep it straight.

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Okay.

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And maybe right over here, we'll

have one big, huge pine tree

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and pine trees are real easy.

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You just kind of make them

in a, in a zigzag shape.

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Same, it's kind of zigzag it right down.

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A lady in one of my dad's

classes used to call the Z trees.

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Cause you make it basically like a Z

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and down here, maybe a Bush or two.

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Now with that same dirty fan run,

she can go in and put a little bit of

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highlight when your tree and see how

that dirty color you had on there.

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Mixes with the yellow and makes kind of

a green that's what you're looking for.

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And not every branch, but maybe every

third branch or every second branch.

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You want a little bit of highlight

and a small trunk, maybe.

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Let's see,

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and to finish it up some

real bright bushes up front.

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Well that Steve's

finishing this painting up.

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I would just like to come in here

and thank Steve very much for

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demonstrating the joy of painting today.

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And we look forward to seeing you again.

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So from Steven, a happy

painting and God bless bye-bye.

End .srt file.

Bob Ross' The Joy of Painting

Saturday, December 26, 2020

S08E11 - Mountain Range

Bob Ross's

The Joy of Painting

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