Bob Ross's

The Joy of Painting

S13E07 - Peaceful Haven

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Hi, welcome back.

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I'm glad you could join me that you're

ready to do a fantastic little painting.

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Good.

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Tell you what, let's start out

today and have him run all the

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colors across the screen that

you need to paint along with me.

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And while they're doing

that, let's look up here.

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I have my standard old

pre-stretch canvas period.

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It's all covered with nice even coat

of liquid white, and it's ready to go.

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So let's go.

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Thought today we do the

little animated opening.

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That's the one you see at the beginning of

each show of this series that just sorta,

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it just sort of pops in with the music.

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That's a beautiful little painting.

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It only takes a couple of minutes to

paint it, but it takes a lot of fantastic

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people, a long time to the animated.

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So let's do that one.

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I'm going to start today with

a, with a small amount of the

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little blue on the two inch brush.

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Just a little bit of blue, just tap it.

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And maybe we'll reach over here

and get the least little touch.

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If they look green leaves, little touch,

very strong, and we'll go up here and

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let's just bounce in some, just some

happy little areas up here in the sky.

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They look blue, they look green.

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Now this won't be an exact

duplicate of what you see at

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the beginning of each show.

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It'll give you an idea

of how it was painted.

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It's.

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It's almost impossible to peanut

and exact duplicate, and we never

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try to paint exact duplicates.

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Okay.

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Maybe over here, we'll put a little

bit more wherever you want it.

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Fast drop in some happy

little colors, man.

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Bounce around and play.

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There the colors continually mixing

with the liquid white and you get

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all these different values and shades

let the liquid white work for you.

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This is a lazy man's way of painting.

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That's why I like it so much.

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I'm basically a very lazy person there and

we have a little border in that painting.

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So while I have this on the brush to you

want, we'll just mix a little more color.

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Right on the brush.

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And let's go down here and just

put in a little bit of water, pull

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from the outside in outside here.

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Like, so see that mixing those colors

on the brush, you get all kinds of

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different colors that are happening

there from the other side, we're

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still pulling from the outside and.

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And I'm leaving a little area open here.

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If everything works out just right,

that'll look like a little sheen

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of light coming across the water.

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Just barely touching can go all the way

across and bring everything together.

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And that little light area remains there.

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It's very gently just blending

the corners of this out the edges

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out there, Uber blamed this.

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I want to leave it sort of

rough and ragged right now.

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That's what my dog says is rough.

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That's what he said.

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And he sat down in the sandpaper, right?

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Fair.

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And then this wash your brush

and then we just wash it.

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And as usual and odorless thinner.

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Shake off the excess

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and just cover the whole studio.

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Can let's let's put some

big clouds in there.

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We just use a two inch brush day.

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Yeah, you can do this with a

fan brush or a one inch brush.

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Just pull it through the

straight titanium white.

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Lot of paint on the bristles.

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Okay.

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Let's go up here and put us in a

little cloud, maybe their lives, a

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little cloud right there and just

use tiny little circular strokes.

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Just sort of mix it up, wind it up there.

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Can we hand pick old cloud lives.

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There he is there.

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So again, just floats around in his

phone all day and try not to stay

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in one area and keep, keep working.

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It.

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It'll just turn into a great

big cotton ball in the sky.

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Keep your brush moving.

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Don't don't try to work on the

same area over and over and over.

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You'll be much happier with the clouds.

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If they're loose and free there.

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Maybe right in here wherever you want.

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I'm just sort of make a big

decision where clouds live in

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your world and drop them in.

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There we go

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see it here, but you can make a scaffold

of clouds in just a few minutes.

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Doesn't take long.

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He's all big brushes will

do fantastic things for you.

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Maybe there's another one right there.

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The pain is quite the cure in order,

in order to do all this blending,

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without it just mixing together, you

need a very firm dry, thick paint.

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I can't say that enough.

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I know you hear me say that over and

over and show after show, but it's most,

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most important if you're going to get.

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The best results.

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A thick pain is an absolute necessity.

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We have a wash the brush

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now, then mass dry brush.

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And I just want to blend this very gently.

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Just blend it.

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Just sort of stirring it up.

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And I'm not touching the top of much at

all, trying to avoid touching the top

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of each cloud and mostly the bottom.

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And every once in a while, you can just

beat the breast little that'll take off

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the excess paint without going through

the whole cleaning procedure again there.

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And at this point, Don't expect your

cloud to look like it's finished.

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Should still look a little rough.

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We're going to blend it yet.

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There's just this just

blends that bottoms out.

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Get some ready for the next step.

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Knock off the excess.

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Now we're going to fluff

these up just very gently.

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Very gently, barely touching the

canvas, grabbed his little son

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of a guns and just left a month.

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That's all there is to it.

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Lift him, let him get fluffy.

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So you had a different side, makes

every once in a while, knock off

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any excess paint, continue to fluff

working there that very lightly.

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Two hairs and some air, all we're going

to do is just gently, gently, gently.

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There's a hair on the cabinets.

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All you do is take a corner of the brush.

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We lifted off there.

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Very lightly, just enough to take

out the brush marks and that easy.

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You've got a fantastic little sky.

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Okay.

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Now them today, today, we're going to

make some little foothills back here.

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And so for that, I'm going to take.

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Some blue and a little bit of

white, a little touch, a little

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tattoo, midnight black Intuit.

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So we get some three little blue,

midnight black little touch.

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Your white looks like you're

maybe a little touch at

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the little green there too.

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That was an accident, but it's fine.

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And we'll put the least little

touch of Crimson in there.

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Okay.

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It makes it a nice color.

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Now let me clean the knife.

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Do they we'll use the oval

brush and it's easy to identify.

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It has a black handle.

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The rest of my brushes have white

and this one has a black handle.

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Okay.

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Now decide where your little

foothills are going to live out here.

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Just touch with this brush and pull

down it sorta round on the end.

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I see.

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So it.

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It makes these nice little round

areas we're looking for very easily.

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There we go.

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And maybe this little lap.

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The footie Hill just goes right

down my cat, wherever you want it.

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Just pull it straight down and we'll

take a clean two inch brush and

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I want to create a Mistier here.

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So I'll just tap.

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All we do is just tap.

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And then lift slightly up.

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See how soft the base of that becomes.

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Okay.

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Then we'll use the same

color, the blue little black.

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I want the same color on

the darker, less white.

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And at this time, cause this

one's going to be closer to us.

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Little touch of the Crimson there.

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Just load the brush back and forth.

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And maybe there's another little

Foothill and it came right down my care.

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Now you can also turn this

brush this way and make more

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individualistic, little things.

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And pull them straight

down, just very lightly.

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See this darker color now separates.

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There we go.

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Like this just work its way right on out.

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Here and there some

more individual things.

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So turn the brush vertically.

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We can go back to our big

brush, tap the base of it.

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Tap it firmly.

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You can probably hear how hard I'm

hitting this, but I'm using only the

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top corner of the brush and tapping.

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I want to create that

illusion of missed again.

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Now sometimes on foothills, maybe

you want to show a little bit of

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color, a little bit of highlight.

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So let's do that today.

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Shoot.

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We gotta get going here.

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I'm gonna take that same over brush

and go into a little yellow card,

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yellow, blue, yellow ochre, and just

sort of work it around like that.

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That's all we need.

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Okay.

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A little bit of color on there.

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Then all we had to do is just sort of tap.

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Just tap it.

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I give it a least a little downward.

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Paul, I just want to put the indication

here and there a little bit of highlight.

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Not much, not much.

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There and we'll come back and

soften that with a big brush too,

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but that's the way you make trees

that look a little closer to you.

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Jasper putting a little color when

things are far, far away from you,

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they look sort of bluish color.

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As they get closer than you're

able to make out detail and color

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and all those wonderful things.

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But when they're far away,

they should look just bluish.

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I can.

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And that helps create the illusion

of distance in your painting.

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Okay, little yellow ochre and then

a little touch of Indian, yellow.

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Just break it up.

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There we go back to our big brush

and we can just tap the base

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of this a little just to soften

it and bring it all together.

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Okay.

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Then lift upward and that

little oval breast super.

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Thanks.

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Some fantastic effects.

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Let's go on the other side here.

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We'll use some more blue and some black.

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I want this to be even darker.

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Even darker,

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maybe over here lives

another little Foothill.

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I think in that little opening

at the beginning, it had

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several layers of foothills and

this is the way they're made.

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So each layer gets darker.

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Yeah.

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Maybe before we get too far here,

let's put some reflections back here.

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Watch here, grab this and pull it

down and we'll have a little bit of

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water back here in that background.

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Just touch and pull down straight

down, then come across and

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give the illusion of water.

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Then we can take a little touch

of white paint anyway, just

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to make the indication here.

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We're pushing upward.

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Okay.

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Jazz, some little water lines, some little

things see, makes it look like miss there.

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Just by grabbing it,

pushing up, pretend sneaky.

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Huh?

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Lay it down, grab it.

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Just let it go upward.

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And that's all there is to it.

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Okay.

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Now then we'll bring this fist Foothill

right on down here in front of it.

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Maybe it comes right on out here.

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And then we see there's

a little recessed area.

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That's a place that big trout can

go back here, there, and maybe on

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that indications here and there.

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I have a little bit of highlight of it.

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It's also quite close.

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So if you can see highlight over here,

chances are, you could see it here too.

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Just a little.

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See, luckily in this painting,

I know pretty much what's going

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to happen since we animated it.

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So I know what areas are

going to be covered up.

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I don't have to worry about putting

a whole bunch of stuff here.

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Most of the time, we just, we just about

have, we're making these things up as

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we go have a general idea, but that's

about all decide where your flexing is

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going to be a new, pull that down, tap

it, lifted effort, bring it all together.

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Little more reflection

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there and very lightly across.

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We can do that.

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Same thing again with a

little touch of white paint.

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This is not liquid white.

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Usually on the waterlines.

254

00:14:19,160 --> 00:14:20,180

I use the liquid white.

255

00:14:20,210 --> 00:14:23,300

This is just plain white,

then I'm lifting it upwards.

256

00:14:28,730 --> 00:14:29,180

Okay.

257

00:14:29,210 --> 00:14:30,740

Let me grab an old fan brush here.

258

00:14:31,230 --> 00:14:33,570

There we go over here on this side.

259

00:14:34,020 --> 00:14:35,700

Let's have some fun, let's have some fun.

260

00:14:35,700 --> 00:14:39,750

I'm going to take yellow ochre, a

little bit of, a little bit of dark

261

00:14:39,750 --> 00:14:41,550

Sienna in it, on the fan brush.

262

00:14:42,885 --> 00:14:45,095

But almost be right back right back there.

263

00:14:46,365 --> 00:14:46,964

There we go.

264

00:14:47,175 --> 00:14:49,755

Yellow ochre, dark Sienna mixed together.

265

00:14:50,444 --> 00:14:54,745

Now up in here, we had a little,

little tree or two there.

266

00:14:54,755 --> 00:14:55,005

Here.

267

00:14:55,785 --> 00:14:57,735

It was okay.

268

00:14:57,915 --> 00:15:00,735

No, it's just mostly yellow

ochre with a little CN in it.

269

00:15:01,574 --> 00:15:06,015

And I want these trees today to be

like little swamp trees, ones, the

270

00:15:06,015 --> 00:15:07,995

limbs hang down, they're tired.

271

00:15:09,105 --> 00:15:10,935

Or they've had a rough life

out there in the swamp.

272

00:15:10,965 --> 00:15:11,324

Let's see.

273

00:15:11,355 --> 00:15:13,785

Maybe there was another

one and he lived here.

274

00:15:14,900 --> 00:15:22,360

Right there, but sort of push those limbs

down, let them hang these old trees there.

275

00:15:22,420 --> 00:15:26,560

They have a lot of hangie downs on

them and you could just take the brush

276

00:15:26,800 --> 00:15:29,920

and just wiggle it up time, create

the illusion of some little bushes

277

00:15:29,920 --> 00:15:31,240

and stuff that lived back in here.

278

00:15:37,770 --> 00:15:41,189

On top of that or in front of that,

we'll begin fighting some other things.

279

00:15:41,459 --> 00:15:48,930

Let me clean my brush, come back in

here and let's see here, we'll take

280

00:15:48,930 --> 00:15:51,359

some pressure and blue midnight black.

281

00:15:52,109 --> 00:15:53,469

We might as well mix a pretty good power.

282

00:15:53,520 --> 00:15:54,780

We're going to use that.

283

00:15:55,135 --> 00:15:57,495

Vandyke Brown Crimson.

284

00:15:57,945 --> 00:15:59,565

She would throw some SAP green there, too.

285

00:16:00,315 --> 00:16:01,065

Whatever you get.

286

00:16:01,215 --> 00:16:02,085

Mainly dark.

287

00:16:03,015 --> 00:16:05,055

You're looking for a nice dark color.

288

00:16:05,055 --> 00:16:10,005

I mean, wipe off the knife, we just

wipe off the knife on old paper towel.

289

00:16:11,870 --> 00:16:16,520

Now I'm gonna load the fan brush full

of color, both sides, a lot of color.

290

00:16:17,660 --> 00:16:20,660

And let's decide here

where some trees left.

291

00:16:20,689 --> 00:16:22,819

Maybe there's one right here.

292

00:16:23,959 --> 00:16:26,510

And once again, we're looking

for these old hanging down limbs.

293

00:16:27,770 --> 00:16:29,089

Just let them hang down.

294

00:16:29,390 --> 00:16:32,150

I can't turn in the brush.

295

00:16:32,520 --> 00:16:37,640

These are old tired, but

they're give him a friend.

296

00:16:46,310 --> 00:16:49,609

and maybe in your painting, you

want trees that maybe they're

297

00:16:49,609 --> 00:16:50,810

a little better off than mine.

298

00:16:51,530 --> 00:16:52,160

You can do that.

299

00:16:52,160 --> 00:16:55,189

I just want to show you how to make

these little, I call them small pies

300

00:16:55,189 --> 00:16:59,780

because usually a bridge is a very wet,

you have evergreen trees that where I

301

00:16:59,780 --> 00:17:03,530

come from in Alaska, you have evergreen

trees at the limbs hanging weed down.

302

00:17:04,860 --> 00:17:09,210

And the farther South you go in

Alaska, the more these lamps just

303

00:17:09,210 --> 00:17:14,640

hang and they're beautiful, but

usually it's where it's a very damp.

304

00:17:16,530 --> 00:17:19,379

But now if you want nice street

ones in yours, please do that.

305

00:17:20,250 --> 00:17:20,910

There we go.

306

00:17:23,520 --> 00:17:25,440

In that quick, we've got

some happy little trees.

307

00:17:25,470 --> 00:17:29,040

I'll just take their big brush

up a little ones too slow, and

308

00:17:29,040 --> 00:17:30,210

let's put some land in here.

309

00:17:31,830 --> 00:17:34,920

All we're doing is just

tapping and we don't care.

310

00:17:34,920 --> 00:17:36,600

Some of these little

hangie downs off the brush.

311

00:17:36,610 --> 00:17:37,139

Get down here.

312

00:17:38,340 --> 00:17:40,050

We just turn those into reflections.

313

00:17:40,710 --> 00:17:41,879

We'll use them Rascals.

314

00:17:44,264 --> 00:17:44,895

There we go.

315

00:17:46,784 --> 00:17:47,865

And that's our land area.

316

00:17:47,955 --> 00:17:50,385

That's why we have that bridge going.

317

00:17:52,545 --> 00:18:02,865

Grab and pull down little street

there, Kevin Cross see their

318

00:18:03,015 --> 00:18:04,275

instant reflections again.

319

00:18:05,445 --> 00:18:05,685

Yeah.

320

00:18:05,685 --> 00:18:09,165

Then back to our same old fan brush

and we can just go right into a little

321

00:18:09,165 --> 00:18:12,735

touch of the CAD yellow and it's

immediately, immediately, it's going

322

00:18:12,735 --> 00:18:14,385

to turn green because of the blue.

323

00:18:15,435 --> 00:18:18,105

I just want to put the indication

here and there of a highlight or two.

324

00:18:18,165 --> 00:18:19,515

I don't want too much over here.

325

00:18:21,389 --> 00:18:22,199

Not too much.

326

00:18:24,750 --> 00:18:25,350

All right.

327

00:18:26,820 --> 00:18:27,000

Okay.

328

00:18:27,020 --> 00:18:30,600

Now then we can take a one inch brush,

put a touch of the liquid white,

329

00:18:30,600 --> 00:18:33,899

whether it just with him, the paint

a little then paint was taken to a

330

00:18:33,899 --> 00:18:37,980

thick paint and we'd be ready to send

some yellow and some yellow ochre.

331

00:18:38,459 --> 00:18:38,879

Okay.

332

00:18:39,720 --> 00:18:43,800

Yellow ochre, little

touch of the bright red.

333

00:18:45,395 --> 00:18:50,254

And let's go up here and begin putting

in all kinds of little, little grassy

334

00:18:50,254 --> 00:18:55,264

things and it just using the corner of

the brush and just tapping, just tapping.

335

00:18:56,545 --> 00:18:57,545

And it's most important.

336

00:18:58,745 --> 00:19:02,155

The angles that you follow here, we

want to create the lay of the land with

337

00:19:02,155 --> 00:19:06,545

the land to sorta move over this way.

338

00:19:08,195 --> 00:19:08,855

There we go.

339

00:19:09,565 --> 00:19:09,905

See there.

340

00:19:11,105 --> 00:19:11,195

Okay.

341

00:19:11,610 --> 00:19:12,000

Okay.

342

00:19:12,030 --> 00:19:13,290

Maybe there's a little bump.

343

00:19:13,290 --> 00:19:14,880

It lands right here, wherever you want it.

344

00:19:17,070 --> 00:19:20,790

Stroppy man, back in here.

345

00:19:24,750 --> 00:19:27,150

But leave some of those little

dark issue areas in between.

346

00:19:27,180 --> 00:19:29,310

That's what gives depth and distance.

347

00:19:30,360 --> 00:19:33,470

Can't take a little touch of the

Vandyke Brown, and let's just put

348

00:19:33,490 --> 00:19:40,140

in a little, little dirt under here

and just rubbing that Jess ribbon a

349

00:19:40,140 --> 00:19:41,310

little bit and Brown right in there.

350

00:19:45,980 --> 00:19:50,720

Xcel, there we are back

to our titanium white.

351

00:19:52,230 --> 00:19:53,730

Got that little roll

of paint on the knife.

352

00:19:54,030 --> 00:19:57,420

And then just trying to lay a

little bit of white red underneath

353

00:19:57,420 --> 00:19:58,500

there for a little waterline.

354

00:19:59,550 --> 00:20:02,220

Now what I'm doing is touching

heel, allowing the canvas to pull

355

00:20:02,220 --> 00:20:04,500

off what it wants, give you back.

356

00:20:04,500 --> 00:20:05,100

What's left.

357

00:20:15,929 --> 00:20:19,139

And we can take them away,

scratching a few sticks and

358

00:20:19,139 --> 00:20:20,429

twigs wherever you want them

359

00:20:25,399 --> 00:20:25,860

to think.

360

00:20:25,860 --> 00:20:27,270

We back get that side finish.

361

00:20:27,840 --> 00:20:28,740

Let's go to the side.

362

00:20:28,740 --> 00:20:30,990

Let me grab, I have several

oval pressures going here.

363

00:20:32,189 --> 00:20:32,879

We just grabbed it.

364

00:20:32,879 --> 00:20:34,409

I like his oval breasts are fine.

365

00:20:35,250 --> 00:20:35,520

Okay.

366

00:20:36,149 --> 00:20:37,350

Let's come right up in here.

367

00:20:40,169 --> 00:20:41,340

Load the brush full of paint.

368

00:20:42,030 --> 00:20:46,169

And there was an evergreen tree who

lived, he lived, he did live right there.

369

00:20:46,929 --> 00:20:49,740

Just start out by making a sort of a.

370

00:20:50,245 --> 00:20:53,215

A little center line and you

can take this brush and just

371

00:20:53,215 --> 00:20:54,774

sort of work it back and forth.

372

00:20:56,115 --> 00:20:59,304

We want these, we want these old

limbs just to hang on this tree

373

00:20:59,304 --> 00:21:04,014

and this older brush does that very

nicely on, Oh, hanging down lounge.

374

00:21:09,955 --> 00:21:10,645

There we go.

375

00:21:12,324 --> 00:21:13,344

Nice old tree.

376

00:21:14,900 --> 00:21:15,230

Okay.

377

00:21:15,230 --> 00:21:20,180

And he's got a friend lives, right

next door, Fran lives right there.

378

00:21:22,110 --> 00:21:23,000

Same thing.

379

00:21:27,629 --> 00:21:28,200

Fair.

380

00:21:30,330 --> 00:21:32,490

He's too good buddies.

381

00:21:32,490 --> 00:21:33,750

They live next door to each other,

382

00:21:37,530 --> 00:21:38,370

maybe here and there.

383

00:21:38,370 --> 00:21:43,169

There's a happy little Bush or so the

cruise right to everybody's, foot's just

384

00:21:43,169 --> 00:21:44,820

sort of make up little ideas and do them.

385

00:21:46,110 --> 00:21:50,100

And we had one big monster tree, big guy.

386

00:21:50,100 --> 00:21:50,879

He lives.

387

00:21:52,405 --> 00:21:52,975

Right there.

388

00:21:53,225 --> 00:21:58,225

That's a big sign that we got in

there and I come right along in

389

00:21:58,225 --> 00:22:02,035

here, right over all that sky.

390

00:22:04,260 --> 00:22:06,060

Load the brush frequently as required.

391

00:22:06,810 --> 00:22:09,870

Whenever you start running out

of paint, just load it back up.

392

00:22:10,530 --> 00:22:13,200

I see that over brush makes all

those little doers happen there.

393

00:22:13,530 --> 00:22:17,399

I don't know what kind of

name you'd put on those doers.

394

00:22:17,399 --> 00:22:18,090

That sounds good.

395

00:22:21,210 --> 00:22:21,990

There we go

396

00:22:27,910 --> 00:22:28,440

that easy.

397

00:22:28,440 --> 00:22:30,870

You could make a fanatastic tree.

398

00:22:32,910 --> 00:22:34,380

Just let him grow right out of the brush.

399

00:22:36,180 --> 00:22:36,960

There we go.

400

00:22:41,950 --> 00:22:43,600

Okay, I'm going back to my big brush here.

401

00:22:44,410 --> 00:22:45,580

I'm not just fill all this up.

402

00:22:46,810 --> 00:22:50,860

We can come right down here and

Jerry has to begin putting it on all

403

00:22:50,860 --> 00:22:53,050

kinds of this is just dark colors.

404

00:22:53,200 --> 00:22:59,920

So our lights will show, pulling

our lights to show, and you could

405

00:22:59,920 --> 00:23:02,380

really put all this on with a

paint roller doesn't matter.

406

00:23:05,980 --> 00:23:08,350

I had a little path in there so

we can sort of leave that open.

407

00:23:14,260 --> 00:23:14,649

We go.

408

00:23:16,020 --> 00:23:18,960

Back to her oval brush that

has the light green on it.

409

00:23:19,350 --> 00:23:25,530

Put some color on it and let's come back

up in here just to indicate a few little

410

00:23:25,530 --> 00:23:27,180

highlights on these evergreen trees.

411

00:23:29,640 --> 00:23:31,020

Just a few here and there.

412

00:23:33,240 --> 00:23:35,280

There don't cover up all your nice darks.

413

00:23:42,585 --> 00:23:44,565

Where this does look like

on a whole swamp here.

414

00:23:44,565 --> 00:23:44,745

Yeah.

415

00:23:47,805 --> 00:23:48,555

Okay.

416

00:23:49,725 --> 00:23:53,445

Go back to my one inch brush

and let's put some highlights

417

00:23:53,445 --> 00:23:54,855

on the little individual bushes.

418

00:23:56,895 --> 00:23:59,925

Just sort of drop those in

wherever you think they should be.

419

00:24:01,695 --> 00:24:05,235

Maybe let's go right over here and work.

420

00:24:06,260 --> 00:24:09,110

From the one that's a fathers

to way forward, always coming

421

00:24:09,110 --> 00:24:11,270

forward, forward, forward, forward,

422

00:24:14,630 --> 00:24:17,150

where we get too far along there, we

need to stop and put in our little

423

00:24:17,150 --> 00:24:20,900

path so we can have some of the bushes

and stuff that hang over the path.

424

00:24:21,290 --> 00:24:25,730

So we'll take the knife titanium

white, just pull it out very flat.

425

00:24:27,050 --> 00:24:27,290

Okay.

426

00:24:27,350 --> 00:24:28,400

Let's go right up here and just.

427

00:24:30,135 --> 00:24:30,975

This is just white.

428

00:24:33,315 --> 00:24:34,545

I like it's bright in here.

429

00:24:34,545 --> 00:24:40,455

It really makes everything

shine stands out there.

430

00:24:43,335 --> 00:24:47,625

Enter, then I'm going to add the least,

at least a little touch of dark Sienna.

431

00:24:49,005 --> 00:24:49,335

There.

432

00:24:49,335 --> 00:24:51,645

Just the least little touch,

just enough to color it.

433

00:24:51,645 --> 00:24:51,975

A little.

434

00:24:53,445 --> 00:24:53,805

Okay.

435

00:24:54,485 --> 00:24:57,855

And then we can go back

to our one inch brush.

436

00:24:58,575 --> 00:25:02,895

And with that, we can begin completing the

rest of these little bushes and let some

437

00:25:02,895 --> 00:25:06,465

of these little bushes hang over the path

that pushes a path down into the painting.

438

00:25:07,725 --> 00:25:11,985

So it fits don't want it to look like it's

floating around and just having a good

439

00:25:11,985 --> 00:25:14,115

time to push that rascal down in there.

440

00:25:16,034 --> 00:25:19,875

There's another one C and that

pushes that path right on back.

441

00:25:19,875 --> 00:25:22,064

Now, we don't know where

it goes and we don't care.

442

00:25:23,475 --> 00:25:27,074

It goes back there to, uh, to

a happy place wherever that is.

443

00:25:30,345 --> 00:25:33,135

And then individual bushes

it's most important.

444

00:25:34,215 --> 00:25:37,064

When you're up in the foreground,

I guess, to do one Bush at a time.

445

00:25:37,695 --> 00:25:40,635

So that each one's an individual

has its own personality.

446

00:25:41,685 --> 00:25:42,764

She would give them names.

447

00:25:43,425 --> 00:25:45,014

People think you're crazy,

but that's all right.

448

00:25:47,165 --> 00:25:47,925

That's all right.

449

00:25:48,405 --> 00:25:49,995

As long as you're happy, doesn't matter.

450

00:25:52,095 --> 00:25:55,095

There's one, that's got a little,

little red flowers out on the end of it.

451

00:25:55,215 --> 00:25:56,475

When them happy accidents.

452

00:25:58,425 --> 00:26:00,705

They're just like, so.

453

00:26:01,980 --> 00:26:02,370

Okay.

454

00:26:03,210 --> 00:26:07,890

Now we can take her little script liner

brush thinner on it, go right into

455

00:26:07,890 --> 00:26:13,420

the Vandyke Brown and maybe tell you

what, maybe there's a little stick.

456

00:26:13,420 --> 00:26:14,310

It is right there.

457

00:26:15,720 --> 00:26:17,760

Something like, so it's right there.

458

00:26:18,660 --> 00:26:22,980

And I had a few little details in yours

and yours should also be finished.

459

00:26:23,820 --> 00:26:26,400

And I think with that, We'll

call this painting complete.

460

00:26:26,820 --> 00:26:29,760

I hope you've enjoyed seeing how

the animated opening was made.

461

00:26:30,180 --> 00:26:33,360

And until next time from all

of us here, happy painting.

462

00:26:33,870 --> 00:26:34,710

And God bless.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 29, 2020

S13E07 - Peaceful Haven

Bob Ross's

The Joy of Painting

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