Bob Ross's

The Joy of Painting

S10E09 - Mountain Oval

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Hi, welcome back.

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Certainly glad you could join me today.

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Today.

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I have a special treat for you.

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I'd like to introduce you to my son,

Steve, Steve travels all over the

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country, teaching hundreds and hundreds

of people, the joy of painting.

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And I've asked him to come

in today and show you what he

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can do in just a few minutes.

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So I'm going to turn it over to Steve

and I'll be back at the end of the show.

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Steve X a lot then.

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I've already, uh, covered

the canvas with liquid white.

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And, uh, before I did that, I started

out with a piece of contact paper, uh,

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with an oval cut in the center of it.

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And you do that with a scalpel blade

and you'd start out with a piece of

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cardboard or whatever, and, um, cut out

your oval, laid on top, cut around it.

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And then you have this.

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Now they're going to run all the

colors across the screen for you.

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And we're going to start out

with a little lizard and Crimson.

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That's a tongue twister.

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They're tapping it into the brush.

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Always make sure you get a nice

even distribution of paint and put a

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little bit of silo blue in that too.

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And we'll just start

right here in the center.

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Fuse, a crisscross frog.

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When your strokes over laugh,

it adds movement to your sky

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and helps out quite a bit.

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So I'm just throwing a

general shape in there.

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Try to let your shapes get larger towards

the top rather than down at the bottom.

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Now I'm just going into a little bit of

fellow blue and a little bit more lizard.

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Maybe we'll throw a little

midnight black in that.

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Nice dark color and up to the canvas.

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Again,

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it's coming right around the edges of

it and bleed a little down into here.

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Now you've already got a dirty brush.

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I'm going into a little bit

more of that same color.

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And pull it in from the sides for don't

kill your little pink reflection there.

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That really makes it look

nice when the painting's done.

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Okay.

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Can we use a clean two inch brush now?

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Start blending in the center of the

water and move the brush outwards.

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You straight, horizontal strokes though.

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Cause still water always lies flat.

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Now wash your brush.

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If you're frustrated or the

painting, that's a good way

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to take out your frustrations.

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Okay.

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Coming back into the center,

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add a little bit more pressure

this time and move that pain

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out and don't be afraid of it.

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Few strokes that lead the eye into

the painting rather than out of it.

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In other words, make little half circles.

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Okay.

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Now we'll take our fan brush.

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We use a little bit of

liquid wine on that too.

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And why not?

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Let's get crazy.

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Throw a little lizard

and Crimson in it too.

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Make pink clouds today.

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Okay.

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I'm going to start right up here.

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As long as you make

little circular patterns.

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You're okay.

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On clouds.

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just remember that clouds are

light and fluffy on the top and

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nice and flat on the bottom.

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So make your strokes real

puffy on top and on the bottom.

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I kind of swing the brush

side to side like this.

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You really can't go wrong on a

cloud because nobody knows what

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a cloud is going to look like.

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There's nobody knows

the way the wind blows

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fact of that same half circle.

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Well, underneath that all

had a little dark first.

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it looks like we need a little bit more

liquid white to thin our paint down

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just recently.

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I've, uh, taken on a partner.

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To help me teach when I'm traveling around

the country, doing classes, his name's

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Dana jester, and he's really, really good.

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And we just finished a class

out in Springfield, Missouri,

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little shop out there,

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and it went really well.

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Everybody really enjoyed it.

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And we even got a good recommendation

letter out of that whole deal.

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I always remember to pull very

lightly on the top of your cloud here.

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You noticed when I was ballooning under

it, I hardly ever touched the top.

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Okay.

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what I'm doing here is, uh,

creating distance in the painting

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by bringing forth planes.

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You can tell this is behind this.

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And this is behind this because I

saved the center area, the dark,

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rather than blending it out.

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And maybe we've got one

little cloud up here.

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Okay, great.

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Go across the whole thing.

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Real lightly.

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Now I'm going to do a mountain.

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And to do that, I'll go into a little

alizarin, Crimson, little fellow

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blue and midnight black, same colors.

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We used them the sky,

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leave that kind of marbled

and get a roll on your knife.

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Come up to the canvas to have

a big high mountain today.

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Make this top peak real bold, this'll be

the main part of the painting right here.

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You really don't have to use

much paint on this step either.

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No matter of fact, you want

to scrape it down to the bare

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canvas, right underneath them.

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And over here, just maybe a little warm

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scrape it real good

there at the very bottom.

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Now with your two inch brush

bland, just pull it right out to

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follow the angles of that mountain.

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And don't worry about getting

close to the top edge.

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Cause it's the dark that supplied

up there that makes it brighter.

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It takes dark to show light.

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Now going through a little

bit of titanium white.

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Okay.

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Yeah, we'll put a little

alizarin in there.

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Basically the same colors

through the whole painting.

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Okay.

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Come up to the canvas touch.

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Just barely pull it.

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Now, if you use a

shaking motion, it helps.

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And to mix up some shadow, we'll

take a little bit of the base color

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and a little bit oppression, blue

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and mix white with that.

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We'll have to shadow colors today.

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So we'll be doing something

totally different.

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A little bit of dark Sienna with that

same blue shadow color, and a little

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bit of midnight black with that also.

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Okay.

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Back up to the canvas

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stroke of white here.

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Let the angles start getting

longer out to the edges.

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And as you come into the

center, drop the angles harder.

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This is the hard part right here.

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I should say the easy, hard part.

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for the last one.

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Just a little bit of highlight.

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Now we'll start off with that

blue shadow color we made and just

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using the small edge of the knife.

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Come up to the canvas and push

up into that white and pull out.

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I might need to lighten that a tad.

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Okay, let's try that again.

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There we go.

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And then that you want a little bit

of that other color you made too.

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Always remember to push up into the paint

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that drags little streaks out, it gets

away from that split in half mountain.

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Look.

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A little bit of dark.

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This is just the base code I

used on the mountain originally.

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Okay.

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A little bit of shadow behind this one.

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always drop your blue shadow in first

and then go back and put some more

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dark behind it to help bring it out.

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See, watch what this dark

does when I put it in here.

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Okay.

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Maybe one more real quick highlight.

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And that'll about do it for the mountain.

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Now we're going to take a little bit

of SAP green on your two inch brush.

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Just tap it in.

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Like before midnight, black

and yellow blue work it in.

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Okay.

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Let's just drop some foothills in here

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real quick.

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Like.

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The faster you do it, the better it looks.

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Pull up with a clean one inch

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tap.

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You don't even need to remove the

one inch brush from the canvas.

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At this point, you just keep smashing it.

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Okay.

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Darken the color up a little.

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And put another row in,

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of course the plane would

be a little closer and since

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it's, so it would be darker.

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Tap again underneath this one, and

we'll throw a little bit of land in.

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Using midnight, black and Vandyke Brown.

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Get a roll on the knife.

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Touch, pull,

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exaggerate it.

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okay.

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Mix that same base coat with a

little bit of white and you've

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got your highlight color.

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uh, with your big brush, don't

worry about it being clean.

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Just pull a little bit of that land out

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and go across very lightly.

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Yeah.

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With the one inch, a little bit of grass

on top of that land to break it up.

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Yeah.

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With a knife and a little bit of

liquid wine, pull it out real flat

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and put a little bit of black with it.

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Cut across.

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Just scratching a water line real quick.

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Okay.

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A little bit of yellow

highlights this time.

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maybe a couple of sticks

and twigs right there.

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And possibly even a pine tree.

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Mix all your darks together for the pine

and load the brush really full of paint.

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Just come right down over that other.

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okay.

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A little bit of highlight on those might

need to put a drop within or with it.

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And maybe a truck.

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Okay.

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I think we're ready to rip

the contact paper off it.

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Now I'm going to start up here

at the top edge and just pull.

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And we'll, uh, we have it

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now to finish this painting.

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There's a lot of things you can do.

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Uh, but I'm going to go

with a Birch tree, I think.

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And I'll start it right out here.

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Why not?

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Let's get brave.

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just using straight Vandyke Brown,

putting the rolls of paint on the knife.

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make sure you exaggerate the curvature

of the tree or else they'll look

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like telephone poles and you don't

get any calls out here in the woods.

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can I straighten it up a

little bit, as dad would say,

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and maybe some highlight on that, just

using pure of white with a little bit of

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the base color for the mountain in it.

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We'll start right up at

the top kind of making a C.

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wow.

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Did I do that?

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It's amazing sometimes

how easy it is to do this.

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And then other times the toughness

of it can also make it fun because if

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you didn't have those tough times on

it, the easy times wouldn't pay off.

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I'm adding a little blue on the

back of the tree here for shadow.

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And you want to go back with

straight the night black

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and put a last shadow on it.

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Real nice and dark use.

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Lots of paint.

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Okay.

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Less shadow over here on this one.

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Yeah.

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A little bit of thinner

on your liner brush.

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Go through that same black color.

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Get the paint, almost

like an ink consistency.

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It has to be very thin in order

for it to get on the canvas,

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spin the brush through the paint.

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That puts a point on it

and up to the canvas.

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Maybe a little more center in that.

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Make a branch come across the trunk of the

tree gives it a three-dimensional effect.

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and kind of pop the brush back and forth.

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You get more geometric shapes and

geometrics is what you're looking

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for on this particular kind of tree.

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You only see these in Alaska.

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This is a big old Birch tree, I

suppose, anywhere up North really.

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when you start getting down to

the bottom, just let them flow.

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Okay.

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Bring this one right

across the end of the tree.

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See that vignette effect we're getting.

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A little more thinner.

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Okay.

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And use a little more pressure.

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Let them get fatter down

here towards the bottom.

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You don't really want to come

down past the halfway point on

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the tree because Birch trees

only have branches down so far.

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Would you put them any lower than that?

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They look kind of hokey?

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No, you're scooping around on it too long.

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Right down here at the bottom.

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Now this is the fun part, just

a real quick, like smash in some

258

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stuff and make it curve around.

259

00:26:29,235 --> 00:26:30,135

That's all there is to it.

260

00:26:31,605 --> 00:26:38,085

And then with the dirty brush and whatever

color is on it, throw in some highlights.

261

00:26:47,615 --> 00:26:49,205

make sure you stay in that curve.

262

00:26:54,045 --> 00:26:56,505

And maybe to finish it

off, just a few sticks.

263

00:27:00,395 --> 00:27:02,865

He was finishing up the

bottom of that painting.

264

00:27:02,865 --> 00:27:06,135

I just want to come in here and thank

him very much for being a guest today.

265

00:27:06,705 --> 00:27:09,885

Isn't it fantastic what this young

man can do and you can do it too.

266

00:27:10,155 --> 00:27:12,735

We look forward to seeing you

again and from all of us here,

267

00:27:13,005 --> 00:27:14,835

happy painting and God bless.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 29, 2020

S10E09 - Mountain Oval

Bob Ross's

The Joy of Painting

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