Bob Ross's

The Joy of Painting

S14E12 - Misty Forest Oval

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Hello, welcome back.

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I'm certainly glad to see you today.

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Let's do a little painting today

that I think you're really liking.

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And let me tell you what I've

already got done up here.

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I've got, uh, a black canvas as

you can plainly see, but the thing

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that you might not be able to see

on your screen at home is there's,

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uh, an oval cutout and put on here.

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This oval is just contact

paper and I've stuck it on.

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And I've painted this black with

black Jesso allowed that to dry.

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And then I've covered the entire

thing with a mixture of a lizard

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and Crimson and thalo blue.

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And in the center here, there's a little

more Crimson than there is out here.

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I've let it get progressively

darker toward this side.

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So it's brighter than the

middle and it is out here.

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So I'll tell you what, let's have

him run all the colors across

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the screen that you need to paint

this fantastic little painting.

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And we'll go on up here and get started.

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I want to start today with the

old two inch brush, go into a

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small amount of the liquid white.

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And I'm going to go right up in here.

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Do you have to make a decision

right off in this painting?

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Where's where's your

light area going to be?

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I think it'll be right there that just

take the liquid light and begin blending

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outward, like your little crisscross

strokes, but always blending outward.

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Once you start to want to

keep this area in here.

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The brightest look how that

shines sounded that guy.

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Well, you put that liquid white

on top of that transparent color.

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It just comes alive there.

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And we can do this as many times

as we want to achieve a desired

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lightness, Kenneth, but the only

the big secret, be sure you wash

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your brush between each application.

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Okay.

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Shake it out.

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That's really the fun part of

this back to the brightest area.

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That'll touch to the liquid white and

off we go there, isn't that fantastic

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that you can make a sky that pretty,

that easy, that very lightly you

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can just sort of blend across it.

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Take the brush, strokes

out and have a look.

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See at what you have and

if it's not what you want.

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This is the time to change it.

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Don't wait to your paintings halfway

through and then go back in and

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say, Hey, I want to change the sky.

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This is the time to play with it.

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Tell you what let's go into some

lizard, Crimson, little lizard, Crimson,

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little fellow blue, same colors.

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I'm just going to just going to

tap some into the large brush here.

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There we go.

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Just tap.

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Little little color.

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I'm going to use just

the corner of this brush.

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And let's go up in here and maybe in

our world, maybe there's some little

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bushes and trees that live in here.

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There they are just some little

indications at hanging out over here.

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There.

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It's a very soft little painting

we're going to do today.

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Misty and quiet.

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Pretty little rascal.

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Okay.

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Maybe over here, wherever you want

to just, just put in all kinds of

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little things, you have to make

decisions where they live there.

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I want to say that bright area and

that's slightly off center, so it's

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not, it's not right in the center.

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Slightly off center.

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Here's another one.

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Just drop them in wherever

you think they should live.

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And I'm going to add a little bit more

blue, so it gets a little bit darker

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as it gets away from this light area.

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See a little darker.

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I hope you can see that it's all kind

of little things happening there.

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It looks like a little tree

branches hanging everywhere a

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little bit more to the bluish tone.

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Really shoe there.

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Okay.

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While we have that dark covered,

Nebraska, let's go with, yeah.

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This side here.

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I put a few little things in there.

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These are just a little

background, trees and bushes.

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Tell you what we're want to put the

indication here and there if some little

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tree trunks and some stems and twigs.

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So I'm going to take, I'm going to take.

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A little paint thinner on my liner brush

and go right into that same exact color.

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I want this color to be

very thin water consistency.

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Just it'll flow.

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Okay.

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Turn that brush and bring it to

a nice sharp points as sharp.

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It is.

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So script liner brush here.

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Has very long hair on it.

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So it'll hold a lot of paint now that

I want to just here and there, here

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and there, but the indication of some

little twigs and stems and all kinds of

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things happening at school right in here.

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See you just sort of let your

imagination be a guide here.

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Just drop them in wherever you want them.

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Maybe there's one.

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There he comes, but these little details

here really make your paintings stand out.

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If you're in a group selling paintings

and you have all these little details,

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guess whose paintings are going to sell.

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And this painting is so simple.

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This is one of the easiest

paintings in this entire series.

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Even if you've never painted before, this

is one that you'll have good results.

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The first time you tried, it's

very, very easy and it's fun.

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And maybe the most important thing.

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It's a striking painting, really

an effective little son of a gun.

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I'm like, guess what?

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There may be over here, there's a stick

and a twig and wherever you just sort

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of have to make some decisions where

you think they live and put them in.

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I get that.

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But look at that light glow in

there where you can just see that.

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The light, just, it's just

filtering through there.

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I've painted so many paintings and I

still get excited when I see this work.

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Guess that's the kid in me.

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It never gets old as one thing.

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It's so fantastic about meaning.

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If you paint a million

paintings in your life.

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You're never going to be satisfied and the

next one's going to be your masterpiece.

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And there's always something to learn.

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Every time you paint a picture, you learn

something that will help you when you do

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your next one, King scoped the other side

of this and put a few into this side.

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Don't want him left out.

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There, it goes strong.

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When there, by making these on the side,

bigger, stronger, it gives you a lesion

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that this is farther away and here, and

it sort of wraps the painting around.

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And it's very pleasant to the eye.

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There we go.

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Now I cleaned off my little brush

and I just wash it and some paint

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thinner and wipe it on a paper towel.

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I want to put the least little indication.

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Turn just a little bit of

foliage, but not much, not much.

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Be right back.

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Grab a tiny little bit of blue and

a little bit of titanium white.

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This is, uh, they look blue lizard and

Crimson and the least, little touch,

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least little touch of titanium white.

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Okay.

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Now then.

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Hearing there.

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I just want to put the

indication just burly.

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So it just barely shows up.

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I don't want it.

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I don't want it to be too bright

because this is too far away and I

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want to retain that Misty appearance.

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Nine-year painting.

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If you want it brighter, just

add a little bit more white.

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And it'll really stand out.

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It's very individual.

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However you want yours to be.

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That's exactly the way it ought to be.

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Okay.

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Maybe, maybe, yeah, right there.

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So we can see just a little

indication of some nice.

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Little things that are happening

back here on this tree, but not much.

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We told him what much.

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Okay.

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Let's go on the other side now and here.

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A few little things.

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There's a few.

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These are so subdued.

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I hope they show up on your set.

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There we go.

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Maybe there's one, just

sort of pick them out.

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All you're doing is just sort of looking

around and deciding where they live.

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Drop it.

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A few little things in.

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There's one,

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there's another little one, maybe

down here, just a few happy little

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things growing around the bottom.

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Shoot, we got it.

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And that's really all there is to it.

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Okay.

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Let's have some fun here.

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Let me get, here we go.

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Get an old two inch brush here.

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That's not dirty.

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I'm going to put some of that same.

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Lavender color into the bristles

just happened a little bit in, okay.

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Now I'm going to come right down

here and go right into the CAD

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yellow little touch of yellow ochre.

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Just sort of mix them together

on the brush, little Indian,

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yellow here and there.

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The least little touch of the bright red.

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And by mixing color on the brush,

you ended up with a multitude of

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colors happening on the brush.

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You don't have just

one flat or dead color.

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It's all kinds of effects going on.

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Tap, give it a little push that

loads, the end of the bristles.

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Now that may be in here.

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There's some soft grassy areas.

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All you have to do is just

begin touching, just touch, tap.

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See you there.

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Look, I, them go

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very Jekyll.

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You could make this look absolutely

like velvet they're darker and

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darker and darker back in here.

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Cause it's going back into the.

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To the shadow areas.

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Okay.

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Right on down here.

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And you just sort of worked in layers,

completing the most distant layer first

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and coming forward, forward, forward,

fall, always working forward there.

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And if you want to brighten an area,

maybe you want a light coming right

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through here and right in here.

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I went into a small amount of

just straight titanium, white.

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I see.

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And all you have to do is just barely

touch and that'll highlight, right, right.

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For that light areas.

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But don't overdo.

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If you overdo, it will kill

the effectiveness of it.

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See, now that gives the impression

that there's a light shining through

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there, but if you do too much, it's

just going to look too bright there.

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Tell you what this do.

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Maybe there's some rocks and

stones that live out here.

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It takes some Vandyke.

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Brown pulled out very flat plans.

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You can get it, go straight down

with a knife, cut across and

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get our little roll of paint.

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There it is again, scope here and

maybe, maybe right in here somewhere.

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Look at there.

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Just touch, give it a little

sidewards, Paul, we're just going

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to put the indication, just a

few little rocks and stones and

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some dirt show in here in there.

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There we go.

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Wherever you want them now,

then, then Tanium white, a little

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dark Sienna, mix them together.

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So they're marble.

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I don't know if that's a correct word

or not, but you know what I mean?

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It's not over mixed.

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There's all kinds of

streaks going through it.

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Cause those streaks

are still on the knife.

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See, okay, now then you can take that

and just let it sort of bounce along

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and barely touching graze it, caress

it there softly very softly, but it's

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just like, when you put snow on the

mountain, you need it to break and it

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leaves some holes and stuff in there.

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So the dark shows through it looks

like dirt, rocks and stones and.

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Shoot, you can even put up big stone

right there, wherever you want him,

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but some dark underneath him,

just standing right up there.

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I know that's hard to

see when we get there.

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The little grassy areas around though.

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It'll stand out and it'll

stand out a little more of the

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color on my two inch brush.

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Just go back up here.

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Yeah.

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Come right down in front of that.

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And that'll push that dirt

right down into the painting.

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There we go.

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That easy.

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I like little paintings like this.

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Now this one, as I mentioned

earlier, has an oval on it.

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If you wanted to do this painting without

the oval, all you do is leave it off.

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Paint the whole canvas with

black Jesso and take off.

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This makes a beautiful full-size painting.

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Just because I have the oval

on here certainly didn't mean

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00:13:31,780 --> 00:13:35,610

that you have to, there we go.

252

00:13:39,180 --> 00:13:39,500

Dang.

253

00:13:39,500 --> 00:13:42,360

You just working down,

down, down in layers.

254

00:13:44,225 --> 00:13:48,905

Always in layers and let's have some fun.

255

00:13:50,195 --> 00:13:51,365

Let me find a fan brush here.

256

00:13:51,755 --> 00:13:53,315

Maybe there's some trees

that live in there.

257

00:13:53,375 --> 00:13:58,175

Let's go right into midnight, black,

little lot of paint on the brush.

258

00:13:59,165 --> 00:14:04,685

A lot of paint, lot to paint, both

sides for say their kids go up here.

259

00:14:05,495 --> 00:14:07,925

Maybe their lives in our world right here.

260

00:14:09,515 --> 00:14:13,385

A nice tree comes down to about like that.

261

00:14:14,975 --> 00:14:17,465

Jane, I came just a little thicker.

262

00:14:17,495 --> 00:14:18,785

We'd make him a little stronger.

263

00:14:18,785 --> 00:14:19,385

A little bigger.

264

00:14:21,155 --> 00:14:21,515

Yeah.

265

00:14:21,815 --> 00:14:25,745

He has a friend that's right there.

266

00:14:27,065 --> 00:14:31,175

That tree's name is bill

pays to give them names.

267

00:14:33,045 --> 00:14:35,115

There make friends with them.

268

00:14:35,115 --> 00:14:35,595

What the heck?

269

00:14:36,165 --> 00:14:39,425

Maybe, maybe, maybe there we are.

270

00:14:39,935 --> 00:14:41,375

There's one right there.

271

00:14:42,005 --> 00:14:42,095

Okay.

272

00:14:42,175 --> 00:14:46,835

See, we just let them grow right

off the same spot and then pick my

273

00:14:46,835 --> 00:14:49,385

liner, brush paint thinner on it.

274

00:14:49,775 --> 00:14:54,995

Once again, we want this paint to be

very thin, very thin sort of flow.

275

00:14:55,025 --> 00:14:55,775

Let's go right up here.

276

00:14:57,214 --> 00:15:00,995

Then let's decide where some

limbs live on this tree.

277

00:15:01,115 --> 00:15:03,845

Maybe there's one right out through there.

278

00:15:04,745 --> 00:15:09,095

See, but the paint should be so thin

that it just flows right off your brush.

279

00:15:11,090 --> 00:15:11,630

Maybe.

280

00:15:12,290 --> 00:15:13,730

Yeah, there was one up here.

281

00:15:16,670 --> 00:15:17,330

There we go.

282

00:15:18,170 --> 00:15:21,110

I could just tell the ones

would grow on this whole tree.

283

00:15:23,060 --> 00:15:23,870

This is your tree.

284

00:15:24,620 --> 00:15:25,550

So you decide.

285

00:15:26,675 --> 00:15:28,385

Wherever you want, however you want them.

286

00:15:28,715 --> 00:15:32,225

That's the right way there.

287

00:15:32,225 --> 00:15:33,965

Maybe that's when it comes

right on the back across.

288

00:15:33,965 --> 00:15:34,475

We don't know.

289

00:15:34,985 --> 00:15:39,235

Liam's go all kinds of ways there.

290

00:15:41,515 --> 00:15:42,355

One up in there,

291

00:15:47,605 --> 00:15:48,355

one over here.

292

00:15:51,780 --> 00:15:55,950

I recently was doing a show for one

of the PBS stations and we did a

293

00:15:55,950 --> 00:16:00,510

painting like this on a big, great

big, and then we auctioned it off for

294

00:16:00,510 --> 00:16:02,280

the PBS station to make a happy buck.

295

00:16:03,030 --> 00:16:05,700

Uh, people really liked this one

when they could see it up close,

296

00:16:06,030 --> 00:16:07,680

so beautiful, beautiful painting.

297

00:16:08,820 --> 00:16:11,060

And we traveled all over

the country doing shows for.

298

00:16:11,495 --> 00:16:14,464

PBS stations and charity groups.

299

00:16:16,714 --> 00:16:20,795

So if we get to your, we get to your

town at your left to have the opportunity

300

00:16:20,795 --> 00:16:21,755

to meet you and talk with you.

301

00:16:21,755 --> 00:16:23,344

So come by and see us.

302

00:16:24,334 --> 00:16:27,485

And if you want to know who we're going

to be in your area, just drop me a

303

00:16:27,485 --> 00:16:28,985

card with your name and address on it.

304

00:16:30,305 --> 00:16:31,985

And I'll put it with our mailing list.

305

00:16:34,145 --> 00:16:37,575

And while we get to your area,

I'll let you know, we'll drop

306

00:16:37,575 --> 00:16:43,575

you a little card there and you

can just send it to the address.

307

00:16:43,575 --> 00:16:44,625

That's on the end of the show.

308

00:16:45,285 --> 00:16:47,865

They send everything to me here.

309

00:16:47,865 --> 00:16:49,545

I'm just adding some

more to the grassy areas.

310

00:16:49,545 --> 00:16:49,755

There.

311

00:16:52,245 --> 00:16:52,905

There we go.

312

00:16:59,980 --> 00:17:01,660

Just layer after layer after layer.

313

00:17:06,579 --> 00:17:08,890

Maybe you want to strengthen

this a little bit.

314

00:17:10,000 --> 00:17:12,400

I want to make that a little

more distinct right in there.

315

00:17:14,200 --> 00:17:16,540

Go back some dark color.

316

00:17:17,970 --> 00:17:21,390

Hmm, dark color makes that light

just jump right out at you.

317

00:17:25,440 --> 00:17:25,920

Okay.

318

00:17:27,420 --> 00:17:28,860

A little bit of grass right in here.

319

00:17:33,060 --> 00:17:33,420

Shoot.

320

00:17:33,420 --> 00:17:34,890

We can just bring us right on down.

321

00:17:39,435 --> 00:17:40,544

Isn't that fantastic.

322

00:17:40,725 --> 00:17:45,315

And as I say, if you've never, never

painted with me before, this is an

323

00:17:45,345 --> 00:17:47,325

excellent painting for your first project.

324

00:17:48,825 --> 00:17:49,725

It's so nice.

325

00:17:50,504 --> 00:17:51,435

And it works well.

326

00:17:51,600 --> 00:17:57,540

It works so well there at the more you

tap on this little grassy area here, the

327

00:17:57,570 --> 00:18:02,490

softer it'll become it will absolutely

get to where it looks just like velvet.

328

00:18:04,480 --> 00:18:05,400

That's very nice.

329

00:18:07,770 --> 00:18:08,340

Okay.

330

00:18:08,370 --> 00:18:09,930

Let me find a one inch brush here.

331

00:18:11,060 --> 00:18:12,260

We'll just use the same one.

332

00:18:12,260 --> 00:18:17,720

We were using go right into some blue,

some blue and some alizarin Crimson.

333

00:18:18,860 --> 00:18:20,300

It would just mix these on a brush.

334

00:18:22,250 --> 00:18:22,490

Okay.

335

00:18:22,490 --> 00:18:24,170

I want some very dark colors here.

336

00:18:24,170 --> 00:18:26,360

This should look black should look black.

337

00:18:26,720 --> 00:18:27,440

I'll be right back.

338

00:18:27,440 --> 00:18:30,320

I want to get a least little

touch of paint thinner on to thin

339

00:18:30,320 --> 00:18:32,870

it just a tiny bit, because I'm

going to apply this over color.

340

00:18:33,110 --> 00:18:34,370

That's already on the canvas.

341

00:18:34,985 --> 00:18:38,615

So one of our golden rules is a thin

paint will stick to a thick paint.

342

00:18:39,395 --> 00:18:42,995

So if you start with a very thick base

color, then you can put lighter colors

343

00:18:42,995 --> 00:18:44,794

over the top of it, thinner colors.

344

00:18:45,425 --> 00:18:48,215

Now I want to put the indication

of some silhouetted leaves in here.

345

00:18:48,995 --> 00:18:50,075

So I'll have, you're going to do.

346

00:18:50,780 --> 00:18:52,100

Just use the corner of the brush.

347

00:18:54,460 --> 00:18:57,410

I'm killing all my beautiful little

tree lamps, but that's all right.

348

00:18:57,890 --> 00:19:03,950

We know that they are sometimes that helps

give you an idea of where to put these.

349

00:19:03,950 --> 00:19:09,860

If you have limits on your trees, there,

maybe that comes right up into here.

350

00:19:09,950 --> 00:19:11,180

We don't know wherever you want them.

351

00:19:12,785 --> 00:19:14,615

These are just little loose leaves.

352

00:19:14,945 --> 00:19:17,705

They just sort of lay

around all day and have fun.

353

00:19:19,565 --> 00:19:20,165

There we go.

354

00:19:23,585 --> 00:19:24,365

Good and dark.

355

00:19:25,655 --> 00:19:26,825

Now I have that color.

356

00:19:27,785 --> 00:19:29,075

Maybe there's some bushes that liver.

357

00:19:29,399 --> 00:19:29,879

Right here.

358

00:19:30,689 --> 00:19:32,159

We'll just push it a little bit of color.

359

00:19:32,280 --> 00:19:36,719

We need that dark or light or show we'll

have a little Bush or two the lives there.

360

00:19:38,639 --> 00:19:39,179

There he is.

361

00:19:40,980 --> 00:19:41,149

Yeah.

362

00:19:41,149 --> 00:19:42,120

I'll grab another brush.

363

00:19:42,179 --> 00:19:45,810

And I'm going to dip this into at

least a little touch of liquid white,

364

00:19:46,139 --> 00:19:47,939

and then go back into my yellows.

365

00:19:48,449 --> 00:19:53,820

Grab some SAP green, both the

brush full of color, full of color.

366

00:19:54,389 --> 00:19:56,100

Pull the brush in one direction.

367

00:19:56,975 --> 00:19:57,784

One direction.

368

00:19:57,905 --> 00:20:01,985

So that loads a lot of paint right on the

end of the bristles one direction though.

369

00:20:02,795 --> 00:20:03,034

Okay.

370

00:20:03,534 --> 00:20:05,665

Now, if you have a lot of

paint loaded into this brush,

371

00:20:05,725 --> 00:20:06,925

it takes very little pressure.

372

00:20:06,955 --> 00:20:09,655

When you touch up here, if you

don't have enough paint, you have

373

00:20:09,655 --> 00:20:11,215

to hit hard and it sorta, yeah.

374

00:20:11,655 --> 00:20:16,545

Smashes, you know, it gets all, it'll

get all muddy on you, but with a lot of

375

00:20:16,545 --> 00:20:22,155

paint or you have to do is use a very

gentle touch and just give it a little

376

00:20:22,155 --> 00:20:24,645

Bush just enough to barely, barely.

377

00:20:24,855 --> 00:20:25,005

Right.

378

00:20:25,385 --> 00:20:26,195

Ben, the bristle bristles.

379

00:20:28,205 --> 00:20:28,595

Okay.

380

00:20:30,125 --> 00:20:36,815

Reload the brush, but another little

bushy in there and put in little layers,

381

00:20:37,055 --> 00:20:38,795

leaving some dark areas in between.

382

00:20:40,055 --> 00:20:42,365

It's most important that

you leave us old dark areas.

383

00:20:43,865 --> 00:20:44,825

Maybe back in here.

384

00:20:44,825 --> 00:20:45,095

It is.

385

00:20:47,034 --> 00:20:51,495

Happy little Busher too about Mike.

386

00:20:51,495 --> 00:20:59,115

So now, so just wherever you want,

we can have some of these just

387

00:20:59,595 --> 00:21:00,975

come right down from their floods.

388

00:21:03,100 --> 00:21:09,520

There now with a clean knife, we

can scrape through and allow some

389

00:21:09,520 --> 00:21:10,540

of that black to show through.

390

00:21:10,540 --> 00:21:12,010

And it looks like little

sticks and tweaks.

391

00:21:12,010 --> 00:21:13,000

I hope you can see those.

392

00:21:13,990 --> 00:21:14,590

They are here.

393

00:21:14,590 --> 00:21:15,730

If you can't see them, they're here.

394

00:21:18,490 --> 00:21:20,590

It looks like all kinds of little

sticks that are holding out your

395

00:21:20,590 --> 00:21:25,270

bushes and just wherever put one

right over there and you can see it

396

00:21:25,270 --> 00:21:26,530

over the top of that light color.

397

00:21:28,805 --> 00:21:30,485

Really add some detail to your painting.

398

00:21:33,065 --> 00:21:39,085

Can you tell you what this

particular, I want to bring, show

399

00:21:39,085 --> 00:21:41,035

you how to bring this tree forward.

400

00:21:41,095 --> 00:21:41,575

What's here.

401

00:21:41,605 --> 00:21:49,165

All you gotta do is take a little color

like so, and you can pull that rest.

402

00:21:49,165 --> 00:21:50,665

Go right on, up into the foreground.

403

00:21:52,975 --> 00:21:53,514

That easy.

404

00:21:54,355 --> 00:21:56,395

And once again, that helps

create the illusion of depth.

405

00:21:56,425 --> 00:22:00,594

You can see grass between this

tree and this tree and how

406

00:22:00,594 --> 00:22:01,764

there's distance between them.

407

00:22:02,754 --> 00:22:04,254

Just one of those little things.

408

00:22:04,375 --> 00:22:06,834

That'll make your painting

look a little special.

409

00:22:08,655 --> 00:22:09,225

I'm right there.

410

00:22:14,254 --> 00:22:19,595

Yeah, then I'm going to take,

this is some dark Sienna, white.

411

00:22:20,315 --> 00:22:25,655

Get the least little touch of bright,

red, least little touch, pull it out.

412

00:22:25,655 --> 00:22:26,225

Very flat.

413

00:22:26,945 --> 00:22:29,524

Get us a very small roll

of paint on the knife.

414

00:22:29,915 --> 00:22:32,764

Tiny little role now for our

lights coming from there.

415

00:22:32,794 --> 00:22:33,935

Maybe there's a little light.

416

00:22:35,165 --> 00:22:36,815

That just bounces right through here.

417

00:22:37,865 --> 00:22:40,115

We'll put some on, then I'll

show you how to mute it.

418

00:22:41,165 --> 00:22:45,605

Calm it down the light, hitting round

on those tree trunks that were cleaned

419

00:22:45,605 --> 00:22:50,465

the knife and just began touching,

tapping, which is just a clean knife.

420

00:22:51,185 --> 00:22:52,595

So the color mixes together.

421

00:22:53,840 --> 00:22:54,770

And that'll subdue it.

422

00:22:54,770 --> 00:22:59,320

That would make it quieter, but it'll

still leave a little sparkle out here

423

00:22:59,320 --> 00:23:02,350

and I don't enter these trees or maybe

a little lights, just it through.

424

00:23:03,730 --> 00:23:04,090

Okay.

425

00:23:04,150 --> 00:23:04,840

Let's do this one.

426

00:23:06,670 --> 00:23:06,910

Yeah.

427

00:23:08,560 --> 00:23:11,500

See that tree a little bit right here.

428

00:23:13,720 --> 00:23:15,250

Wherever you think light would hit.

429

00:23:16,930 --> 00:23:17,500

Okay.

430

00:23:19,060 --> 00:23:19,360

Shoot.

431

00:23:19,360 --> 00:23:20,860

Speaking of trees, let's have some fun.

432

00:23:21,920 --> 00:23:25,280

Let's ask them find out that she was the

big knife, big knife, a small knife pulled

433

00:23:25,280 --> 00:23:28,640

out, Vandyke Brown, get a roll of paint.

434

00:23:29,660 --> 00:23:32,210

And maybe there's a big tree

that lives right over in here.

435

00:23:32,570 --> 00:23:35,000

I like he's old big trees in my

painting, but if you don't want it in

436

00:23:35,000 --> 00:23:37,130

yours, David off, watch here though.

437

00:23:37,220 --> 00:23:37,960

Watch your watch here.

438

00:23:38,390 --> 00:23:40,100

Excuse my arm for just a second.

439

00:23:41,120 --> 00:23:42,790

Maybe this land comes down

440

00:23:46,060 --> 00:23:46,720

there.

441

00:23:46,720 --> 00:23:47,320

He comes.

442

00:23:47,710 --> 00:23:48,400

They says you're brave.

443

00:23:48,400 --> 00:23:49,000

Retest.

444

00:23:51,179 --> 00:23:52,679

This is your bravery test.

445

00:23:55,980 --> 00:23:56,310

Okay.

446

00:23:56,340 --> 00:23:56,730

Maybe.

447

00:23:57,419 --> 00:23:57,659

Yep.

448

00:23:57,750 --> 00:23:58,199

You're right.

449

00:23:59,010 --> 00:24:02,010

That's another big Liam right there.

450

00:24:03,330 --> 00:24:04,409

There's a lot of paint here.

451

00:24:06,330 --> 00:24:07,550

Lot of pain on that.

452

00:24:10,100 --> 00:24:10,970

When this one dries.

453

00:24:11,250 --> 00:24:12,870

It'll feel like a real bark.

454

00:24:13,680 --> 00:24:16,170

Maybe there's another Liam

comes off in this direction.

455

00:24:17,780 --> 00:24:18,200

There

456

00:24:24,170 --> 00:24:28,940

paper route holds up this monster

tree, uh, that one in there.

457

00:24:31,495 --> 00:24:33,475

No, I didn't tell you partner.

458

00:24:34,875 --> 00:24:36,254

We have this color.

459

00:24:36,254 --> 00:24:43,455

It was Oh, white little dark

Sienna, a little bright red

460

00:24:43,455 --> 00:24:44,534

and probably not very flat.

461

00:24:45,284 --> 00:24:48,465

Get our role to paint, pull it

out, roll the paint that easy.

462

00:24:49,635 --> 00:24:49,815

Okay.

463

00:24:49,815 --> 00:24:52,815

Now that very gently, very gently.

464

00:24:54,195 --> 00:24:58,784

Just let this touch graze

and just slide right.

465

00:24:59,065 --> 00:24:59,965

Down the tree.

466

00:25:01,135 --> 00:25:05,035

He just barely, barely

touching no pressure.

467

00:25:05,065 --> 00:25:13,335

Just like putting snow in the mountain,

only on a tree, but no pressure over here.

468

00:25:16,075 --> 00:25:17,115

Little bit in there, right there.

469

00:25:18,105 --> 00:25:22,215

Where the lights coming through there.

470

00:25:24,185 --> 00:25:28,274

On the other side, I would take a

little blue, yellow, blue, little

471

00:25:28,284 --> 00:25:33,485

white, the indication here have a

little reflected light here and there.

472

00:25:35,615 --> 00:25:37,945

They're just percolated up.

473

00:25:37,955 --> 00:25:39,814

It gives her a cool color.

474

00:25:41,405 --> 00:25:42,485

Little bit more of a Brown.

475

00:25:43,355 --> 00:25:45,725

You can lay that in here and sort

of bring all that together and just

476

00:25:45,725 --> 00:25:49,985

let it work right around, like, so

477

00:25:54,445 --> 00:25:58,825

and you could take a little Brown on

the liner brush and put the indication

478

00:25:58,825 --> 00:26:01,255

here and there a few lambs in my world.

479

00:26:01,285 --> 00:26:05,815

I think this whole trees it's

dead, but there's still in

480

00:26:05,815 --> 00:26:06,895

Liam here and they're hanging.

481

00:26:07,135 --> 00:26:07,645

Not many.

482

00:26:09,084 --> 00:26:09,594

Okay.

483

00:26:09,834 --> 00:26:12,985

Tell me about, let's do that side

of the camera come right up here

484

00:26:13,044 --> 00:26:18,745

and I'm going to take the contact

paper off and let you take that.

485

00:26:18,745 --> 00:26:21,145

Fantastic to me.

486

00:26:21,145 --> 00:26:23,185

These are some of the most

beautiful little paintings.

487

00:26:24,355 --> 00:26:28,165

And I think with that, I'll sign

this one, take a little bit of

488

00:26:28,165 --> 00:26:29,905

bright red go right up here.

489

00:26:31,225 --> 00:26:32,515

Certainly hope you've enjoyed it.

490

00:26:33,925 --> 00:26:36,565

As I've mentioned several times,

this is a very nice painting.

491

00:26:36,595 --> 00:26:37,975

If this is your first attempt.

492

00:26:38,575 --> 00:26:39,475

So give it a try.

493

00:26:39,850 --> 00:26:43,389

And from all of us here, happy

painting and God blessed.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 29, 2020

S14E12 - Misty Forest Oval

Bob Ross's

The Joy of Painting

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