Bob Ross's

The Joy of Painting

S14E01 - Distant Mountains

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Hello, I'm Bob Ross.

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And I'd like to wait, welcome you

to the 14th joy of painting series.

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First of all, I'd like to thank

you for inviting me back for

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another series of painting shows.

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If this is your first time with

us, then let me extend a personal

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invitation for you to get at

your brushes and paint along.

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I'll tell you what, or just drag

up the old easy chair and spend a

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relaxing half power enjoying some

of nature's masterpieces where we're

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painting with about a dozen oil

colors, a few unorthodox brushes and.

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Each show.

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I'll try to show you how easy it is for

you to paint and how much fun it can be.

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So I'll tell you what, let's go on up

here to the canvas and get started now.

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I've already covered the canvas with

a nice thin even coat of liquid white.

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The liquid white just makes

the canvas wet and slick.

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It allows us to actually blend

color right on the canvas, and it

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really makes our painting much, much

simpler than traditional methods.

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So I'll tell you what, let's start out

in having run all the colors across

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the screen that you need at home

to paint along with me and they'll

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come across in the same order as I

have them on the pallet, starting

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with a white and working around.

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And while they're doing that, let's go on

up here and let's get started and we'll

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do a, let's just do a happy little scene

today and I'll show you a very simple

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scene that you can do, and you'll enjoy.

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Let's start off today with an old two

inch brush and go right into right

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into a small amount of the fellow blue.

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It doesn't take a great deal,

just a little and just tap a

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little color into the bristles.

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By tapping that assures a nice

even distribution of color all

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the way through the bristles.

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There we go.

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Let's go right on up here.

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Now let's start right up at the

top and we use little crisscross

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strokes, just making little exes

and go all the way across the top.

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See it here.

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Add easy all you have to do.

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The blue one, your brush is continually

continually mixing with the little

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quick wipe that's already on the canvas.

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So that way it blends automatically as

you work downward and then a landscape,

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it should always get lighter toward the

horizon that helps create the illusion

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of depth and distance in your painting.

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There we go.

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Just little crisscross strokes.

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Black.

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So, okay.

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Maybe about down like that,

I thought today we'd put a

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happy little cloud in the sky.

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If you're going to put clouds in

the sky, then you might want to

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make your sky a tiny bit darker.

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So the clouds will stand out.

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You need the dark in order for

a light to, to show against it.

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There came up very gently.

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I'll just go all the way across.

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And that just removes the breaststrokes

and brings everything together.

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That easy.

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We have a, we have a very nice little sky.

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Tell you what?

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While we have that blue in the brush

and go right back into my fellow

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blue and I'm gonna reach right

next door here and grab the least

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little touch of the fellow green.

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Very small amount.

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Doesn't take much.

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It's very strong, very strong.

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Okay.

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Let's go back up here.

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Now maybe, maybe we'll have a

little water in this painting.

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So it starts from the outside

and pull inward, pull it across,

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like, so pull across, there we go.

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If you start here and go across,

it leaves a big distinct line,

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which is very hard to blend out.

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So coming from the outside in, and

that way you don't have that distinct

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line and this little area that's

left in here, if everything works

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just right, it'll look just like

the machine of a light coming across

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your water when you're all finished.

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And you can take a little bit of this

color, bounce it back up here in the sky.

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If you have some left on the

brush, it doesn't matter.

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The big thing.

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We try to teach you here is to enjoy

what you're doing and to have fun

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painting should make you happy.

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Should make you happy.

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Okay.

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Let's wash the brush.

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That might be the most fun

part of this whole technique.

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We wash her brushes, but

odorless thinner, shake them off.

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I have a box down here and I

just shake the brush into the

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box and beat the devil out of it.

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Now with a nice clean, dry brush.

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Let's go right back over this

and just blend it together.

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The light spot will remain

when you're painting there, you

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don't have to worry about it.

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It'll stay there and you can blend the

sky to whatever degree that you want it.

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Okay.

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Yeah.

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Okay.

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And that's just a knock off any

excess paint this on the brush.

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It's easier than cleaning it.

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We said we'd have a, a happy

little cloud in this painting.

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So what do you use a fan brush today?

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You can do this with a Oh with a one

inch brush or a two inch pressure.

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I just picked up the fan brush.

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Let's try that load.

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A lot of the titanium white into it.

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It's a very firm paint and he was

just the corner of the brush and

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just make little circles, just happy,

little circles, little tiny circles.

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Say they're little tiny circles there.

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They're just letting it flow right on

off the cool right on off the canvas,

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you have to make big decisions.

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This piece of canvas is your world,

and you have to decide, you have to

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decide where things live in your world

because you have unlimited power here.

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You can do anything that you want to do.

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And anything that you want to do.

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You're only restricted

here by your imagination.

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Okay.

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Watch out for pan gross.

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Then I destroyed the fan

brush on a paper towel.

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Okay.

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Now back to our two inch brush, we'll

take just the top corner and we're going

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to blend the base of the clouds out.

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Tiny little circles using just the top

corner of the brush and then grab it.

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And fluff it, tease it, pull it

up a little and then very lightly,

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very lightly three hairs and some

air just go across in that easy.

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You built a beautiful little

cloud, same thing over here at

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just the corner of the brush.

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Just a stirred up a little

lifted after, and then blended.

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There you go.

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And that quick, you have a couple of

happy little clouds that live in your sky.

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Let's build us a little mountain today

for that I'll use some pressure and blue,

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we'll take a little midnight, black, some

Vandyke Brown, little lizard and Crimson.

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What the heck?

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What the heck main thing we're

looking for here is a good dark color.

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Pull it out as flat as you can get it

just really, really exert some force,

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go straight down to the knife there,

cut across, and we get a tiny rule of

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paints right on the edge of the knife.

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And how then.

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Okay, this is where you

have to make a big decision.

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Where does your mountain live?

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Maybe in our world, our mountain mountains

going to live does now right there

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with a firm pressure from pressure.

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Push that paint right into the fabric.

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There we go.

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Just ride into the fabric.

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Act like you trying to

push your holes through.

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You're not going to hurt it.

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It's a strong, very strong.

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Okay, now then maybe there's

another little bump there and

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you decide wherever you want to

scrape off all the excess paint.

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You can hear how hard I'm scraping there.

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Get in there, get tough with it.

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There we go.

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Okay.

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Now we'll take our two inch brush

and we want to grab it and pull it.

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I'm still applying a great

deal of pressure here.

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Grab it.

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Pull firmly downward.

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It helps create that illusion of

missed at the base of your mountain.

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There we go.

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See there.

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That's all there is to it.

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Give it a pull.

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And by using the shadows and highlight

shapes here that are created by the

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brush, you can lay out your entire, the

mountain without ever being committed.

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There we go.

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See, you can just lay them out

and change them and move them.

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That's a super way to cheat a

little bit, and there's no such

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thing as cheating and painting.

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If it works for you and it makes you feel

good, then it's just right there we are.

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Let's wash the brush, shake it off.

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Do here.

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We have the strangest strangest looking

camera, men and television, all of

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them have these weird colored freckles

and we'll take just titanium white,

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pull it out flat, take cut across.

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And once again, our small role of paint.

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It's so important to load

that knife correctly.

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Go right up here.

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Touch no pressure, no pressure there.

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Just let the knife float.

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Just let it float right down

the side of the mountain.

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But no pressure.

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If you apply a lot of pressure, it's going

to look just like you're icing a cake.

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You're not going to have all this, this

breaking in here, the holes left in it.

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The other problem that people experienced

a great deal is they use of paint.

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That's too thin.

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If you use a thin paint, it's just

going to turn to mud and you're

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going to be unhappy with me.

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And I really, I really

want this to work for you.

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Get a paint it's very dry and very firm

that's most, most important outing.

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It's too far along.

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Get carried away here.

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Just put a little shadow.

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Now, just take a little bit of the

blue, blue, little white there.

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Just makes it like, so

pull it out once again.

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Our little roll of paint.

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That's so important now.

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Correct.

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I've been here.

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No pressure once again, no pressure,

but that knife was floating there and we

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put this shadow color in the opposite or

opposing direction from the highlight.

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And maybe right up in here, there,

stay there and had fantastic that

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you can build a mountain that easy.

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And you really can.

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Really cam everyday, I get letters from

people all over the country who never,

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never in their life suspected they

can paint such beautiful paintings.

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And just from watching the

different shows that we've put

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on, they're doing fantastic works.

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Absolutely fantastic.

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And the more you practice, the easier

it becomes and the better you get,

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if there's a secret to this style

of paint or any style of painting.

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It's practice.

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That's all.

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There is no big mysteries here.

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We show you how to do it.

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All you need to do is just

practice a little, okay.

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Make sure your brush is good and dry.

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And then we want to help

create that illusion.

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If invest down here, all we're doing

is tapping, just tapping, following

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the angles and lifting up right.

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Just tap the face of it and give

it a little, little upper left.

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Over here.

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All of these angles there.

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Yeah.

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Sometimes you can take, have a little fun,

maybe take a little blue on the brush.

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Watch here.

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Look at the power you have.

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You can bring that mountain right around.

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See there, you can make it go right

around corners and it helps create a

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little more interest in your mountain.

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Of course, we're not

interested in that happy book.

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If you're out selling paintings,

this is, this is what.

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What will sell your painting is these

little extras makes your painting special.

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There we go.

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See it created another plane and that

mountain brought it forward and you

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can do all kinds of little tricks.

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Like it's just practice a little bit.

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And just a few days you won't

believe, you just absolutely

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won't believe what you can do.

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Okay.

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Let's go back to my old fan brush.

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I'm gonna go right into this old dark

color that I use to, to make the mountain.

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And I see that with some black and

suppression blues and some van Dyke Brown.

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There we go.

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Let's add a little SAP green to that too.

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There we are.

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Okay.

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Load the brush full of paint,

both sides, full of paint.

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And maybe back in here, there's some

little trees that live far away there.

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They're happy little trees that

live in the distance there.

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So take the brush and all

you have to do is tap down.

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See there.

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I hope you can see that.

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All right.

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We just have to make some decisions here.

251

00:13:34,005 --> 00:13:34,605

Where do they live?

252

00:13:36,285 --> 00:13:37,695

Where do they live in your world?

253

00:13:39,405 --> 00:13:45,225

This is one of the easiest, nicest, most

effective ways that I've ever, ever seen.

254

00:13:45,945 --> 00:13:50,805

To make the indication of a lot of

little trees that far away, even

255

00:13:50,805 --> 00:13:52,155

if you've never painted before.

256

00:13:52,305 --> 00:13:54,615

Certainly this is a snap.

257

00:13:54,735 --> 00:14:04,715

You can do this there and maybe

look at there, there they come.

258

00:14:06,855 --> 00:14:10,845

When you're painting and this technique,

you just sorta, you let your imagination

259

00:14:10,845 --> 00:14:16,485

go let your mind wander because you

can create any illusion that you want.

260

00:14:17,805 --> 00:14:19,995

Just let your mind think of things.

261

00:14:20,075 --> 00:14:23,865

And then off you go there.

262

00:14:31,140 --> 00:14:32,700

And I'm tapping quite firmly here.

263

00:14:34,410 --> 00:14:37,560

You know, at the beginning of the

show, I said something about drag up

264

00:14:37,560 --> 00:14:39,480

your lazy chair and relax with me.

265

00:14:39,690 --> 00:14:43,860

I had a letter from a fantastic

lady and she told me each week when

266

00:14:43,860 --> 00:14:48,210

the show comes out in her area, she

drags up her easy chair and she's

267

00:14:48,210 --> 00:14:49,470

going to sit in and watch the show.

268

00:14:50,460 --> 00:14:53,910

And every week without

fail, she falls asleep.

269

00:14:55,500 --> 00:14:58,830

And she says, by the time she wakes

up, I finished the painting and go and

270

00:14:58,830 --> 00:15:00,510

left her there in the chair by herself.

271

00:15:01,020 --> 00:15:06,630

But you know, whether, whether you

awakened refreshed or you paint along

272

00:15:06,630 --> 00:15:10,890

with us either way, I hope you enjoy

this as much as I enjoy being here with

273

00:15:10,890 --> 00:15:14,760

you there, all I'm doing here is taking

that color and pulling it straight

274

00:15:14,760 --> 00:15:17,010

down to create a little reflection.

275

00:15:18,510 --> 00:15:22,050

Knock off the excess paint

and go gently, gently across.

276

00:15:23,610 --> 00:15:25,290

And we have instant reflections.

277

00:15:26,640 --> 00:15:29,850

Now I've got several old fan brushes

going here, so I don't, I don't have

278

00:15:29,850 --> 00:15:31,200

to spend all my time washing them.

279

00:15:32,160 --> 00:15:35,610

So I'm going to go into, we'll

take a little yellow, reach up

280

00:15:35,610 --> 00:15:39,810

here and get a little Sapp green

load, the brush full of color.

281

00:15:39,840 --> 00:15:40,500

A lot of color.

282

00:15:41,850 --> 00:15:42,750

Go right back up here.

283

00:15:43,140 --> 00:15:45,210

And maybe back in here, there's

some little grassy areas.

284

00:15:45,210 --> 00:15:45,540

It lifts.

285

00:15:46,320 --> 00:15:52,620

Just take, give it a little upward

push bend the bristles, push out there.

286

00:15:54,980 --> 00:15:58,520

I can make just the indications of some

little grassy things that live back here

287

00:15:58,520 --> 00:16:01,280

in the distance, wherever you want them.

288

00:16:03,440 --> 00:16:07,880

There all kinds of little projections.

289

00:16:07,880 --> 00:16:10,610

You can touch with a yellow

ochre here and there to Linden.

290

00:16:10,610 --> 00:16:10,670

Yeah.

291

00:16:14,120 --> 00:16:14,540

Okay.

292

00:16:16,350 --> 00:16:18,689

Let's take our knife and we'll

touch on the liquid white.

293

00:16:19,290 --> 00:16:21,660

I'm going to put it on the

canvas or on the palette.

294

00:16:23,430 --> 00:16:25,290

Go cut across it like that.

295

00:16:25,680 --> 00:16:26,490

Let's go right up here.

296

00:16:27,180 --> 00:16:30,930

And with that, let's just cut in

the indication of a little water

297

00:16:30,930 --> 00:16:38,430

line to wherever to keep these lines

basically straight look like you

298

00:16:39,180 --> 00:16:42,060

look like your water's going to run

right off the side of the canvas.

299

00:16:43,350 --> 00:16:44,430

We don't want that to happen.

300

00:16:45,870 --> 00:16:50,400

See how you can create all kinds

of little, little places where

301

00:16:50,400 --> 00:16:55,680

the, this is where the big trout

Heights back in here, there.

302

00:16:56,370 --> 00:16:59,280

And when you're painting, make

up little stories in your mind.

303

00:16:59,520 --> 00:17:02,010

Think about, think about the

big fish that lives here.

304

00:17:02,010 --> 00:17:04,650

And maybe, maybe this is in the far North.

305

00:17:04,650 --> 00:17:07,079

Maybe there's a little Beaver

that comes along here and has fun.

306

00:17:08,220 --> 00:17:10,680

Just make up little stories and.

307

00:17:11,280 --> 00:17:11,640

Yes.

308

00:17:11,670 --> 00:17:15,329

People might think you're a little

touched, but painters are allowed.

309

00:17:15,690 --> 00:17:16,800

They're allowed to be different.

310

00:17:17,490 --> 00:17:19,110

So enjoy that.

311

00:17:19,950 --> 00:17:21,150

It really helps your painting.

312

00:17:21,180 --> 00:17:25,410

If you, if in your own mind that

your world and you can relate to it.

313

00:17:26,610 --> 00:17:27,030

There we go.

314

00:17:27,030 --> 00:17:31,160

Mixing up a big bunch of dark here, the

same things, the blue, black, Brown,

315

00:17:31,890 --> 00:17:33,560

little Crimson, you know, same color.

316

00:17:35,150 --> 00:17:36,830

Let's just stay with the old fan barista.

317

00:17:36,830 --> 00:17:38,990

You could, once again, you

could do this with any brush.

318

00:17:39,315 --> 00:17:40,545

Load a lot of pain into it.

319

00:17:41,025 --> 00:17:47,055

Let's go back up here, maybe in our

world, their lives of make evergreen tree.

320

00:17:47,055 --> 00:17:50,985

Just start off by touching the canvas,

not just the corner of the brush.

321

00:17:52,095 --> 00:17:54,225

I just started let this

work back and forth.

322

00:17:55,395 --> 00:17:57,855

Sit there once again.

323

00:17:57,885 --> 00:18:00,435

You can do this very nicely

with a one or two inch brush,

324

00:18:00,765 --> 00:18:02,085

bringing it to a chisel edge.

325

00:18:02,985 --> 00:18:04,245

It works just as well.

326

00:18:04,395 --> 00:18:05,715

I just had a dirty fan brush.

327

00:18:05,715 --> 00:18:05,895

So.

328

00:18:06,180 --> 00:18:07,200

I thought I'd use it today,

329

00:18:10,350 --> 00:18:11,130

but it's up to you.

330

00:18:12,780 --> 00:18:14,100

Totally, totally up to you

331

00:18:17,250 --> 00:18:17,730

damn brush.

332

00:18:17,760 --> 00:18:21,270

Maybe put some more

detailed into it there.

333

00:18:21,990 --> 00:18:26,730

How that load the brush again, a lot of

paint and it should be very, very dark.

334

00:18:27,180 --> 00:18:28,890

You need, we're going to put

some highlights on there,

335

00:18:28,890 --> 00:18:29,940

so you need this to be dark.

336

00:18:29,940 --> 00:18:34,230

So the highlights of shell, let's

give him a friend, you know, me,

337

00:18:34,260 --> 00:18:35,610

if you've painted with me before.

338

00:18:37,185 --> 00:18:41,175

I think everything needs a friend,

even the trees and bushes and

339

00:18:42,254 --> 00:18:44,804

everything, friends with that important.

340

00:18:46,335 --> 00:18:47,024

There we go

341

00:18:51,825 --> 00:18:52,695

right on down

342

00:18:58,175 --> 00:19:01,485

painted probably 20, 30,000 paintings now.

343

00:19:02,774 --> 00:19:04,155

And I'm still fascinated.

344

00:19:05,175 --> 00:19:10,185

It's still, it gets you excited

to see how it had works and you

345

00:19:10,185 --> 00:19:11,774

have to try it to understand.

346

00:19:12,945 --> 00:19:13,485

There we go.

347

00:19:15,645 --> 00:19:16,544

There we go.

348

00:19:16,764 --> 00:19:18,735

Take this back and forth, back and forth.

349

00:19:19,235 --> 00:19:20,945

Thank you about the little

Leon's on this tree.

350

00:19:20,945 --> 00:19:23,195

Leaves some leased

places in here for them.

351

00:19:23,550 --> 00:19:26,190

By the birds to set birds,

have to have a place to say.

352

00:19:28,800 --> 00:19:29,460

All right.

353

00:19:31,170 --> 00:19:31,590

Okay.

354

00:19:32,880 --> 00:19:34,050

And here we can do anything.

355

00:19:34,050 --> 00:19:36,810

We want, just tell us what

we're going to separate.

356

00:19:36,810 --> 00:19:40,740

All that with, with

highlights, brushes too slow.

357

00:19:41,280 --> 00:19:43,050

Let's get, let's get serious.

358

00:19:43,680 --> 00:19:46,110

Let's take two inch brush and

go right through that same cut.

359

00:19:47,000 --> 00:19:50,720

Pull the brush in one direction,

one direction through the paint,

360

00:19:51,440 --> 00:19:52,730

but pulling it in one direction.

361

00:19:53,805 --> 00:19:58,335

It'll round one corner and that

rounded corner, we went to the top.

362

00:19:59,415 --> 00:20:03,345

Take with a rounded corner up, give

it a little push and watch here.

363

00:20:03,345 --> 00:20:08,205

See when you push look at all those

little leaves and grass indications

364

00:20:08,205 --> 00:20:12,615

and Bush indications that makes

just automatically, there we go.

365

00:20:12,735 --> 00:20:17,265

Now turn the brush to Creech shape there.

366

00:20:19,649 --> 00:20:22,710

Think about each individual

Bush, give them names.

367

00:20:22,710 --> 00:20:23,370

If you want to.

368

00:20:24,090 --> 00:20:27,570

There's one named Martha and

there's Fred, whatever it takes.

369

00:20:29,790 --> 00:20:32,700

Each one of these is an individual

with his own personality.

370

00:20:34,050 --> 00:20:40,169

Again, thinking about him

building his shape there.

371

00:20:41,325 --> 00:20:44,905

And as I say, people may look at

you, like you're a little, little

372

00:20:44,905 --> 00:20:45,945

different, but that's all right.

373

00:20:47,955 --> 00:20:50,415

That's painters, as you know,

we're happier than most people.

374

00:20:50,415 --> 00:20:51,225

So that's okay.

375

00:20:52,335 --> 00:20:53,205

So, okay.

376

00:20:54,615 --> 00:20:59,235

Now then I'm going to go back to my fan

brush and take some SAP green, a lot of

377

00:20:59,235 --> 00:21:01,455

SAP green, a little bit of the yellow.

378

00:21:01,935 --> 00:21:02,145

Okay.

379

00:21:02,145 --> 00:21:02,625

Let's go.

380

00:21:03,765 --> 00:21:06,855

Let's go right up here now,

then I'm just going to take,

381

00:21:07,575 --> 00:21:08,805

just use a corner of the brush.

382

00:21:10,605 --> 00:21:16,155

And put in the indication here and

there of some highlights, not too much.

383

00:21:16,155 --> 00:21:19,775

I want these trees to remain

cool, quite dark, quite dark.

384

00:21:19,775 --> 00:21:22,355

I don't want to lose that contrast.

385

00:21:25,265 --> 00:21:27,575

And the mountains shows that your

light's coming from the right.

386

00:21:28,295 --> 00:21:30,905

So put more emphasis on the

right side of this tree.

387

00:21:32,465 --> 00:21:33,095

There we go.

388

00:21:35,765 --> 00:21:37,265

Darker, darker, darker as he works.

389

00:21:37,265 --> 00:21:37,835

Dan, because of.

390

00:21:38,475 --> 00:21:40,455

There's more shadows toward

the bottom of the tree.

391

00:21:40,485 --> 00:21:46,485

Plus that old lambs are not as

bright and Chinese and new ones.

392

00:21:48,045 --> 00:21:51,615

They're just right into there.

393

00:21:51,615 --> 00:21:51,945

Maybe.

394

00:21:53,070 --> 00:21:56,250

Maybe we want the indication here

and there of some sticks and twigs.

395

00:21:56,270 --> 00:21:58,470

And this is all you have to

do is just take the knife.

396

00:21:58,950 --> 00:22:02,070

That's great, right through the paint,

allow some of the canvas to show

397

00:22:02,070 --> 00:22:07,410

through most of this, these little

twigs will be covered up when we

398

00:22:07,410 --> 00:22:10,950

get finished, but the ones that show

through here, people will thank you.

399

00:22:10,950 --> 00:22:13,980

Work for weeks with your little one haired

brush, putting all that detail in there.

400

00:22:14,820 --> 00:22:15,630

And that's our secret.

401

00:22:16,020 --> 00:22:17,220

We don't tell them any different.

402

00:22:18,960 --> 00:22:19,260

Okay.

403

00:22:19,290 --> 00:22:20,340

Maybe a couple over here.

404

00:22:20,939 --> 00:22:21,600

Wherever you want.

405

00:22:21,600 --> 00:22:24,689

I'm just sort of trying to sort

of make a decision, drop them in.

406

00:22:25,620 --> 00:22:27,000

Let's use the old one inch brush day.

407

00:22:27,010 --> 00:22:28,260

We'll put some highlights in here.

408

00:22:29,879 --> 00:22:33,929

One of our golden rules, a thin

paint will stick to a thick paint.

409

00:22:34,679 --> 00:22:37,889

So we start with the

thickest paint imaginable.

410

00:22:38,580 --> 00:22:40,080

When we, when we put it on the canvas.

411

00:22:40,080 --> 00:22:43,230

Now, when I start highlighting

this, I want a thinner paint.

412

00:22:43,560 --> 00:22:46,919

These yellows are made to a

thinner consistency intentionally.

413

00:22:47,879 --> 00:22:48,899

So they'll stick easy.

414

00:22:50,129 --> 00:22:54,300

I even dip the brush into a small

amount of the liquid white to thin

415

00:22:54,300 --> 00:22:57,899

the paint, even more, pull this into

one direction, load a lot of paint.

416

00:22:57,930 --> 00:22:59,070

Look at the end of this brush.

417

00:22:59,820 --> 00:23:01,080

Look at all the paint that's in there.

418

00:23:01,110 --> 00:23:03,720

Probably the most common

mistake made is not putting

419

00:23:03,720 --> 00:23:05,490

enough paint into the bristles.

420

00:23:06,330 --> 00:23:09,450

A lot of color, lot of color it's heavy.

421

00:23:09,450 --> 00:23:10,260

You can feel it.

422

00:23:10,500 --> 00:23:11,399

Okay, let's go right up here.

423

00:23:12,300 --> 00:23:14,430

Now you have to start making

big decisions in here.

424

00:23:15,210 --> 00:23:17,610

Pick out individual bushes

and stuff and trees.

425

00:23:17,760 --> 00:23:18,090

Okay.

426

00:23:18,720 --> 00:23:20,550

Give a little push gentle.

427

00:23:20,580 --> 00:23:22,640

It does not, does not take a hard yet.

428

00:23:23,450 --> 00:23:28,550

If you've loaded the brush correctly

with a nice thin paint, then

429

00:23:28,550 --> 00:23:31,760

all you have to do is just touch

and it won't turn the mud on.

430

00:23:31,760 --> 00:23:32,930

You see there.

431

00:23:33,470 --> 00:23:33,560

Okay.

432

00:23:33,590 --> 00:23:34,790

One individual Bush.

433

00:23:35,330 --> 00:23:36,680

All right, you got it.

434

00:23:36,680 --> 00:23:36,890

Now.

435

00:23:36,920 --> 00:23:37,730

You got it.

436

00:23:37,730 --> 00:23:39,590

Now, there we go.

437

00:23:40,190 --> 00:23:44,090

Now we can pick them out one at a time.

438

00:23:45,015 --> 00:23:46,065

One at a time.

439

00:23:46,065 --> 00:23:46,755

There they come.

440

00:23:47,355 --> 00:23:51,195

They're there and we'll pick up

some Indian, yellow, and maybe

441

00:23:51,525 --> 00:23:54,915

right on the tip of the bristles,

a little touch of the bright red.

442

00:23:54,975 --> 00:23:59,025

And we can put a Bush out here that

has a little red flowers on it.

443

00:23:59,265 --> 00:24:01,155

Say, they're that easy?

444

00:24:01,605 --> 00:24:02,925

You can do anything out here.

445

00:24:03,225 --> 00:24:06,345

Anything, one Bush it attire.

446

00:24:06,975 --> 00:24:07,425

There we go.

447

00:24:09,005 --> 00:24:10,725

See, we got the ones

that are fathers away.

448

00:24:10,725 --> 00:24:13,635

First that we can come back and begin.

449

00:24:14,145 --> 00:24:18,105

Putting some that are closer to

us, work in layers, doing the most

450

00:24:18,135 --> 00:24:22,935

distant object first and working

forward, always working forward.

451

00:24:24,675 --> 00:24:25,245

There we go.

452

00:24:26,325 --> 00:24:27,345

Layer after layer.

453

00:24:28,725 --> 00:24:32,625

I tell you what, tell

you what look at that.

454

00:24:33,135 --> 00:24:36,675

Let's have some fun

maybe in her world here.

455

00:24:38,145 --> 00:24:39,435

There's a big old trout lives out here.

456

00:24:39,435 --> 00:24:40,544

You got to have a way to go get him.

457

00:24:41,310 --> 00:24:42,689

So let's build us a little path.

458

00:24:42,689 --> 00:24:45,929

And for that, we'll take the knife,

a little touch of Vandyke Brown,

459

00:24:46,139 --> 00:24:49,709

pull it out, very flat, cut across,

and our little roam of paint.

460

00:24:49,709 --> 00:24:52,870

Again, always that little roll

of paint and go right up here.

461

00:24:52,870 --> 00:24:52,949

Here.

462

00:24:53,000 --> 00:24:54,050

I have to make a big decision.

463

00:24:54,050 --> 00:24:55,370

Now is your path Lyft.

464

00:24:56,449 --> 00:25:00,560

Maybe it comes right around and all I'm

doing is just applying some Brown paint,

465

00:25:01,669 --> 00:25:03,770

but the general basic shape of the path.

466

00:25:05,504 --> 00:25:09,135

Allow it to get larger and larger and

larger as it gets closer to you, that'll

467

00:25:09,135 --> 00:25:10,635

make it look like there's distance there.

468

00:25:11,205 --> 00:25:12,885

Let's take some dark Sienna.

469

00:25:13,804 --> 00:25:18,485

A little bit of Hawaii makes

that up, but don't, overmix it

470

00:25:18,485 --> 00:25:19,445

just sort of leave it a little.

471

00:25:19,534 --> 00:25:23,915

Marbley looking, see they're all different

colors are a little roll of paint.

472

00:25:23,915 --> 00:25:24,245

Again.

473

00:25:24,544 --> 00:25:27,995

Go back up here and barely touching.

474

00:25:28,235 --> 00:25:29,375

Just let it graze.

475

00:25:29,645 --> 00:25:30,905

Just barely graze.

476

00:25:31,844 --> 00:25:33,135

See their pet graze.

477

00:25:33,304 --> 00:25:34,485

Ooh, Ooh.

478

00:25:34,485 --> 00:25:35,054

That's nice.

479

00:25:37,155 --> 00:25:38,115

Gives you cold chills.

480

00:25:38,115 --> 00:25:38,895

It works so well.

481

00:25:39,885 --> 00:25:40,395

There we are.

482

00:25:40,695 --> 00:25:41,115

Look at that.

483

00:25:42,524 --> 00:25:45,215

See, you can do that.

484

00:25:46,475 --> 00:25:47,074

There we are.

485

00:25:47,135 --> 00:25:52,834

Let's take and think we want to push

that path down to the painting there.

486

00:25:55,475 --> 00:25:58,205

You got to do to bring some

of those bushes right over it.

487

00:25:59,520 --> 00:25:59,969

Okay.

488

00:26:00,090 --> 00:26:00,360

Yeah.

489

00:26:00,360 --> 00:26:02,669

Then let's go to the other side of it.

490

00:26:02,780 --> 00:26:02,989

Yeah.

491

00:26:03,409 --> 00:26:04,520

Maybe over here lives.

492

00:26:05,419 --> 00:26:05,989

There he is.

493

00:26:06,979 --> 00:26:11,629

It's a happy little tree that lives right

here and he hangs out right over the path.

494

00:26:13,189 --> 00:26:14,870

He just lives here and sorta hangs out.

495

00:26:14,870 --> 00:26:17,570

See, now that path disappears

back here in the bushes.

496

00:26:18,139 --> 00:26:19,219

We don't know where it goes.

497

00:26:20,840 --> 00:26:21,649

We don't know.

498

00:26:23,120 --> 00:26:24,830

That's a private little place back there.

499

00:26:25,200 --> 00:26:28,110

That's where the little

rabbit hides and he has fun.

500

00:26:28,890 --> 00:26:29,190

Mr.

501

00:26:29,190 --> 00:26:29,430

And mrs.

502

00:26:29,430 --> 00:26:30,420

Rabbit lived there.

503

00:26:33,530 --> 00:26:36,320

That little bullshit hangs

over right there, right there.

504

00:26:38,270 --> 00:26:45,950

And he's got her friend lives here

like that to airway her there.

505

00:26:46,790 --> 00:26:47,150

Okay.

506

00:26:47,690 --> 00:26:48,080

Now then.

507

00:26:48,525 --> 00:26:53,355

We can take just a clean knife at this,

go around and scraping the indication of

508

00:26:53,355 --> 00:26:58,575

some little trunks and sticks and twigs

and say there that helps us show distance

509

00:26:58,575 --> 00:27:03,795

in your painting, shows different planes

and creates that illusion of death.

510

00:27:04,725 --> 00:27:05,745

So these are really helpful.

511

00:27:07,385 --> 00:27:11,855

And then take our liner brush,

put a little paint thinner on it.

512

00:27:11,875 --> 00:27:13,565

Maybe a little bit of the Vandyke Brown.

513

00:27:15,095 --> 00:27:17,525

We want this color to be as thin as ink.

514

00:27:18,195 --> 00:27:19,095

Let's go right up here.

515

00:27:19,575 --> 00:27:21,885

Maybe their lives, just

a little stick here.

516

00:27:22,725 --> 00:27:26,705

And you could put a few of these

and wherever you want them say

517

00:27:26,735 --> 00:27:30,015

there, just add a little excitement.

518

00:27:31,065 --> 00:27:32,055

What I have at brush.

519

00:27:32,295 --> 00:27:35,415

I want to add a little bit of red

and I think I'll say in this painting

520

00:27:36,915 --> 00:27:40,215

there we are then paint us then is ink.

521

00:27:41,415 --> 00:27:45,615

And with that, I think we'll

call this painting finished.

522

00:27:46,185 --> 00:27:47,235

And from all of us here.

523

00:27:47,565 --> 00:27:48,885

I really hope you've enjoyed it.

524

00:27:48,885 --> 00:27:50,925

So happy painting and God bless.

525

00:27:50,925 --> 00:27:51,855

I'll see you next time.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 29, 2020

S14E01 - Distant Mountains

Bob Ross's

The Joy of Painting

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