Bob Ross's

The Joy of Painting

S14E10 - Surprising Falls

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Hi, I'm glad you could join me today.

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You know, in the past we had a young

artist on the show that was so fantastic.

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We got so many cards and letters talking

about how great this young man was.

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We've decided to bring him back.

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And today it's my absolute pleasure

to introduce you to my son, Steve

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and Steve, a little devil can paint.

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He travels all over the country

and he teaches literally hundreds

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of people, the joy of painting.

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And I've asked him to come

here today and show you.

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What he can do.

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And just a couple of minutes.

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So Steve, if you chill, how to

do a fantastic little painting,

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I'll get off here and I'll see

you at the end of the show.

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Okay.

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Thanks a lot, dad.

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What I'm gonna try to do today

is a waterfall scene and, uh, a

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have a few different things in it

that I usually don't put in like

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a bushy tree over on this side and

a Birch tree over on this side.

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And, uh, like I said before,

they'll probably be a huge

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waterfall right down here in front.

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So one of my start out with there's

a little bit of fallow blue.

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In the sky and I'm just going to smash

that straight down into the brush and

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try to get a nice even distribution.

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And if you want a real dark sky, you're

going to need to use a lot of paint.

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And of course, if you like them

more light, soft subdued sky,

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then you just use very little and.

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Kind of a soft pressure,

but I like the dark shape.

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So I'm going to try to put

a lot of pressure on it.

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And generally when I load the brush, I

always will go right up into a corner and

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start there and then work into the center.

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And as you do that, the brush picks

up the liquid of white and gets the

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lighter sky gets lighter automatically

towards the center of the paint.

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Yeah, that's what you're looking for.

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Just throw in something like that.

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And then there'll be, I'll go into a

little bit of Thermo blue and yellow,

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green, just a small amount of that thing.

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Little green.

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And down here in the water, we'll just

put some straight, horizontal strokes in.

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now I'll come back with a clean,

dry brush and try to blend all this

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out, saving that light source in

the center, at least a little bit.

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If I can.

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What I'm trying to do here is just

add pressure on the areas where the

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dark and the light come together.

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When you get through blending your sky,

you really shouldn't be able to see where

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the light stops and the dark begins.

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So you should end up with

something similar to that.

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And then down here on the water, you just

make your straight, horizontal stuff.

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I'm trying to save a little

bit of that light there too.

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Okay, maybe in this one,

we'll have a mountain.

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So what you'd want to do is get your

pallet knife and mix a few colors

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together, Vandyke Brown, uh, Prussian

blue, and maybe just a little bit of

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a lizard and Crimson too, with that

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sort of looking for a dark purple.

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Yeah.

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Mix that up real good.

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Then come up to the canvas and

maybe right here, start in with a

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real rough, rugged mountain shape.

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And you want to be careful not to

get too wild because if you get your

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mountain too large, about the only

thing you can do is nail another canvas

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on top of this one and start over,

but say you didn't like a part on it.

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Like right here, you could just

make it a little bit bigger.

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So if it's your first mountain,

I'd recommend starting off with

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kind of a small one and then.

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Making it bigger and

bigger until you like it.

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Now, once I get the shape and I'm going

to try to scrape most of that pain away

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and come back with my big brush and pull

that right out, I want to be careful

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not to get too close to those top edges.

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Okay.

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And then maybe a little snow just

using titanium, white, picking up

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a little on the knife like this.

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And just right on top of those edges,

closest to the sun, very light pressure.

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and right over here, maybe just

a little bit, kind of like a

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glacier formation or something.

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And then when you go in for your

shadows, you'd want to use white

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with a little bit of pressure and

blue, the real simple shadow color,

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and kind of leave the paint marbled

a little bit where you can see some

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of those dark blue streaks in there.

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And remember our shadows are a

reflection of the highlights.

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So you'd want to have it break over

here, just like it did on the other side.

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So use real light pressure and

maybe even the small blade on the

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knife every once in a while, if

you're working in a real tight area

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here.

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Kind of pulled down with

the contour of the mountain.

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If the mountain didn't go straight

across, then you would want to pull

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it, you know, down at that same angle.

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If you see the dark line on the back of

the mountain coming down like this, that's

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the same way you want to make the shadow.

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So I'd come over like this

a little and then drop.

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most important is leaving your dark areas.

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You'll notice that I harp on

that through the entire painting

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on, on every single step we do.

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I'll say always leave

those dark areas there.

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And it takes dark to show light.

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Okay.

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And then down at the very

bottom of your mountain.

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Okay.

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You can use your big brush and just make

a little bit of mist by tapping up into it

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and then kind of left to

get rid of those tap marks.

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Okay.

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Now let's say we wanted

a few foothills in there.

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Maybe we'd use some SAP green

and some Vandyke Brown together.

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Get the yuckiest green color.

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You can get out of this because you

know how trees in the distance look

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real dark and, and kind of sappy.

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That's why we call it SAP green.

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Okay.

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And then mix some white with that.

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All we're looking for here is

a couple of different values

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of green, real dark green,

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maybe just a drop of paint thinner.

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Okay.

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Okay.

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Just come up here with a

brush and touch real lightly.

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It doesn't take much pressure right here.

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It's mostly just the

shapes you're looking for.

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and don't be afraid to run over the

bottom of that mountain, but I wouldn't

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recommend coming up too much higher than

I did because you want to save just a

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little bit of that missed back in there.

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It makes them out enough, more distance.

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Okay.

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And once you throw in a nice little hilly

shape, he come back in with a clean,

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dry one inch brush and lift that up.

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And these will be your

little trees in the distance.

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I was just recently in

Pennsylvania doing some classes.

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And this is about all you see

out there in Pennsylvania.

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Is these rolling Hills?

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It's a big change from Indiana.

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Now, down at the bottom of your foot

Hill, you'd want to miss it out by

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taking your big brush and use the

tip of your big brush and smash in.

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That's how you get that.

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Miss.

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The reason I said use the tip

of the brush is because when you

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use the side, you seem to get a

straight line of mist across here.

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Instead of a variation, you gotta be

careful about little things like that,

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and maybe.

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I'd want to make some rows

coming in front of that one.

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So I just add a little bit more of the

Brown and the SAB green to that same color

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and say, this one comes

down in front of that one.

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Just make it happen.

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As long as you work from back to front.

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Through the entire painting.

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You really can't go wrong,

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but you'd never want to put in three or

four foothills at a time and then go back.

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Because when you were blending the

bottom of this one, you might come

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in and go, whoops, and hit the top

of that one, if you weren't real

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careful, but we can fix anything.

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So we're not really worried about it.

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Okay.

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Let's take a little bit

of real dark this time.

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Just pure.

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I have green and Vandyke Brown and put

one more row right here, here, making

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sure we save some of that miss though.

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And notice how the incline of the

land lessons as you come forward.

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My mountain was real high and bold,

and that first row of foothills

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was kinda kind of high and rolling.

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And now this next row is just sort

of flat that gives the illusion

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that this was real far away.

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Just going through my same

steps over and over again.

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Now this one, I'm making this mist.

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I'm really pounding in hard.

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You have to get tough with these brushes.

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It's a big, you have to convince

them to do the right thing.

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Okay.

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Now maybe we'll go for a run on a

dark foliage up front Vandyke Brown

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and SAP green, just like before.

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That'll be our mother color

for the rest of the painting.

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We'll be using that to put our

dark shadows in for everything.

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Now, what I'm doing is just pulling

the brush through the paint.

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And coming up and just

smashing it right in there.

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So even if you've never painted

before, this is really simple to

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do because no matter which way you

twist or turn the brush, it's always

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going to come out looking good

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and kind of make this drop a

little bit on the right-hand side.

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So it looks more like a round Lake

upfront and then I'll take my big brush.

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Awesome.

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Reflections down, go across.

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Let's see.

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And now I'll throw some

land in with Vandyke Brown.

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One more time on the knife.

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First you just start off

by touching real lightly.

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And then you pull to the left hand

side, kind of making little Hills

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here to real flat ones though.

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And a little bit of Brown

and white for highlights.

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Could even throw some dark scene or

something in there, if you want it to

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bright red works nice for that too.

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Okay.

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Of course.

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Every time you have something

above the water, you have to

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pull a reflection out of it.

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And go across that one.

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Also

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now say I wanted to come in and put

some colors on this foliage back here.

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I'd probably use a little bit of green

first because you do see a lot more

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green in nature than any other color.

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So a little bit of SAP green with

cadmium yellow makes kind of a nice

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light green color yellow on screen.

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On this part, you use lots of

pain on the brush, but just barely

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touch to get that crystal effect.

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And you can start changing

your colors around.

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Can use any of your three yellows.

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And maybe as I get out to the corners,

I'd want a little bit more subdued color.

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So I'd start adding more green and

more red that gives the impression the

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sunlight shining right down in the center.

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More than there.

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Now a little bit of liquid white

on the knife and just kind of smear

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it in on the palette like this.

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And then wipe your knife off and cut

right across that, just like that.

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Trying to get a little bit

just on the very blade blind.

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And when you do that, the role of, uh,

liquid Hawaiians can look like it's

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on the top of your knife, but it's

actually right on the very end of it.

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And that's about the only way I've found

to get a good amount of pain on there.

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And remember water lines

have to be straight.

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Even when you're coming around the

band, still water always lies flat.

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Okay, let's see down here, it's used a

little bit of favor blue and a little

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bit of pressure and blue together.

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Let's see what kind of

color we get out of that.

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Now this is on the big brush and I'm

just going to start out by coming

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up here and pulling out a big shape.

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Pulling out one big blue shape.

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This'll be the start of our waterfall.

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Smooth this out and back

around a little bit here.

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Okay.

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I'm going to use my fan brush with

liquid wine and titanium wine on it.

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Okay.

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And just throw in about

six separate strokes here.

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Okay.

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This will be the first one

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and each individual one kinda

overlaps the next, just a tiny bit.

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and you do need to use plenty

of liquid white for this.

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It's kind of hard to get that

paint to flow on there just right.

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and it's really not a good idea to

go back over your strokes again,

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a little bit of movement in

the water and back of it here.

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Okay.

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Now, since that waterfall just

kind of sitting out in the middle

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of nowhere, let's bring in some

clips from the sides, make it look

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like some banks got washed away.

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You have to use plenty of Vandyke

Brown for this part right here.

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And you just kind of smear

it on and sort of a C shape.

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If you notice that I'm kind of making

it like a overhanging cliff shape.

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Yeah.

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You just fell that whole area

and over there, and then over

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here, you do the same thing.

243

00:19:42,935 --> 00:19:47,525

Make sure you cover up enough of

the waterfall though on the sides.

244

00:20:12,530 --> 00:20:12,889

Okay.

245

00:20:12,889 --> 00:20:17,030

And then some more Vandyke Brown and white

together for highlights on top of that.

246

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Just like the burnt in the background.

247

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Yeah.

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And just grab on top of each shape and

pull right across and automatically

249

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you got the top of your clip

250

00:20:36,350 --> 00:20:38,060

and you just kind of

decide where you want them.

251

00:20:46,310 --> 00:20:48,950

and then sometimes they need

effect is to take a clean knife

252

00:20:48,950 --> 00:20:50,870

and push up into it and pull down.

253

00:20:52,340 --> 00:20:54,500

And that really starts

making it look like a cliff

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00:21:14,435 --> 00:21:15,185

okay.

255

00:21:16,205 --> 00:21:16,495

Yeah.

256

00:21:16,525 --> 00:21:18,335

Say we want a little full of drown.

257

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These cliffs.

258

00:21:19,805 --> 00:21:20,765

That's easy enough.

259

00:21:21,635 --> 00:21:21,725

Okay.

260

00:21:22,485 --> 00:21:24,045

We're just going to kind

of smash it in there.

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00:21:24,045 --> 00:21:29,955

Like we did before in the background,

maybe a Bush here, some grass down here,

262

00:21:40,685 --> 00:21:41,585

you know, whatever.

263

00:21:49,460 --> 00:21:51,770

just whatever you see in your

mind's eye and that's the way

264

00:21:51,770 --> 00:21:53,060

you want to put it on the canvas.

265

00:21:56,000 --> 00:21:59,090

I might need a little bit of

dark blue shadow down here too.

266

00:22:01,399 --> 00:22:06,740

That way, when I go in with my splashes

and stuff, we'll have some real dark

267

00:22:06,770 --> 00:22:09,080

underground there for it to look good.

268

00:22:14,315 --> 00:22:15,785

and this is how you do those splashes.

269

00:22:15,785 --> 00:22:19,175

You just run your fan brush through the

white, hit it on your pallet a couple of

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times to open up those bristles and then

come right up here and start firing it in.

271

00:22:33,105 --> 00:22:35,535

Kind of make some sound effects

while you're doing this to some

272

00:22:35,535 --> 00:22:38,745

splashy sound that helps a lot.

273

00:22:43,965 --> 00:22:44,535

Okay.

274

00:22:44,565 --> 00:22:47,655

Maybe I'll come back in here

and highlight this foliage now.

275

00:22:52,010 --> 00:22:54,560

getting into some brighter

colors up here in the foreground.

276

00:22:54,560 --> 00:23:01,010

You know, the, the sun's out real bright

today and maybe it hit even harder up here

277

00:23:01,010 --> 00:23:02,630

in the front and on the left-hand side.

278

00:23:14,525 --> 00:23:17,735

Putting in this poll and just probably

the easiest part of this whole technique.

279

00:23:17,735 --> 00:23:21,035

He just throw it right in there

and leave enough dark shapes.

280

00:23:21,035 --> 00:23:22,595

And it just comes out like you like it.

281

00:23:25,805 --> 00:23:29,255

And maybe I'll show you

how to do one big tree.

282

00:23:30,040 --> 00:23:35,490

Using that same bushy idea and

we'll stick it right over here.

283

00:23:39,080 --> 00:23:41,450

And don't forget to leave some

places for the birds to sit.

284

00:23:41,450 --> 00:23:43,310

You got to leave some

open areas on your tree

285

00:23:53,210 --> 00:23:54,650

and just bring that right down.

286

00:24:00,660 --> 00:24:05,910

Maybe with the knife and some

van Dyke Brown, a little truck.

287

00:24:11,480 --> 00:24:13,880

No, you don't need to get

real detailed on these trunks.

288

00:24:13,880 --> 00:24:15,890

Cause most of it's going

to be covered up anyway.

289

00:24:19,940 --> 00:24:22,970

Just a little bit of that Vandyke Brown

and white again, to highlight that.

290

00:24:26,390 --> 00:24:30,320

And for some reason, they always

look better with a few little sticks

291

00:24:30,320 --> 00:24:35,840

in there that goes for everywhere

in your folders and everything.

292

00:24:36,430 --> 00:24:36,550

Okay.

293

00:24:39,440 --> 00:24:39,710

Okay.

294

00:24:39,710 --> 00:24:44,930

And how about a nice bright

color, some cadmium yellow

295

00:24:45,410 --> 00:24:46,790

and some bright red with it.

296

00:24:48,780 --> 00:24:50,280

It makes a real nice orange.

297

00:25:01,440 --> 00:25:03,390

You can certainly tell

what season this is.

298

00:25:06,330 --> 00:25:08,130

All these leaves changing colors.

299

00:25:17,865 --> 00:25:19,725

Maybe a Bush to cover up his feet.

300

00:25:25,515 --> 00:25:31,145

And he usually on this painting,

I liked to put an Island down here

301

00:25:31,145 --> 00:25:33,035

just to break things up a little bit.

302

00:25:34,655 --> 00:25:35,825

So on this one side,

303

00:25:40,470 --> 00:25:43,379

And of course you needed to bring a

little bit of grass down on that too.

304

00:25:54,600 --> 00:25:57,360

Well, other than a couple of

more little grassy things, I

305

00:25:57,360 --> 00:25:58,650

think this one's a bad done,

306

00:26:04,020 --> 00:26:05,400

probably call that finished.

307

00:26:06,889 --> 00:26:07,460

Okay.

308

00:26:07,820 --> 00:26:11,480

Well, do you understand now

why this young man is in such

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demand as a teacher and why?

310

00:26:13,129 --> 00:26:14,000

I'm so proud of him?

311

00:26:14,000 --> 00:26:15,350

He's a fantastic painter.

312

00:26:16,160 --> 00:26:19,040

And once again, I'm proud to

call him my son and Steve.

313

00:26:19,070 --> 00:26:20,180

Thanks for being with us today.

314

00:26:20,445 --> 00:26:23,925

Thanks, Dan, and we look forward to seeing

you again, happy painting and God bless.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 29, 2020

S14E10 - Surprising Falls

Bob Ross's

The Joy of Painting

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