Bob Ross's

The Joy of Painting

S15E03 - Grandpa's Barn

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Okay, I'm glad you could join me today

and welcome to the joy of painting.

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Tell you what let's start out today.

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In first thing, haven't run all the colors

across the screen that you need to paint

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along with me while they're doing that.

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Let's go on up here.

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I have my standard old canvas up here.

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It's all covered with a nice even

coat of the liquid white it's wet

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and slick, and it's ready to go.

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So let's go thought today.

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We just do a fantastic little scene.

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Maybe, maybe we'll start with

a little bit of yellow ochre.

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Maybe we'll do a building today.

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The smallest little amount of yellow

ochre, tiny, tiny, tiny little bit.

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All I want to do it.

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Just tempt this guy.

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I want to put just the tiniest, tiniest

little bit of color into the sky.

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Let's do something today

has a lot of greens in it.

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That's a lot of fun.

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Yeah, this color will not

show up much until we begin

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putting other colors around it.

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And then that son of a gun.

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Oh boy.

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It'll shine.

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Okay.

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There now, then I just use

the same old, dirty brush.

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I'm going to go into.

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Small amount of a lizard Crimson

who lives in Crimson and I retread

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over and I'm gonna get the least

little touch of Prussian blue.

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So I have a little Crimson, a

little blue, but very little pain

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overall, very, very little paint.

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I don't want don't want much today

now made this lavender color because

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it, you can mix on top of the yellow

and it remains pretty pure and it

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doesn't turn a bright green on you.

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Keep us to use a bright blue sky

with that little bit of yellow.

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Oh, you'd have a happy green sky and

that's not what we're looking for today.

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Let me just go through some, some little

shapes right in here, wherever, wherever.

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That's a bit more color on

the brush, but very subdued.

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There we go.

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I think I've covered most of this up

with some big old trees and stuff.

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But a little of it was shelled through.

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So that's the reason we're putting

this here, but we don't have to

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spend a great deal of time working

on it and worrying about it because

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we're going to cover his essay.

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Most of it.

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Okay.

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That gives us enough sky for

what we're looking for today.

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Let's have some more fun.

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We'd go into some black,

little bit of black.

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Be right back.

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Get a little bit of a yellow ochre black

and the yellow ochre retreaded down here.

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Be right back with some white.

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There we go.

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So we have black little yellow

ochre and some white, it gives

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us sort of a greenish color.

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Now, if it comes out to green,

add a little Crimson to it

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and that will dull it there.

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I don't want it too bright yet.

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Okay.

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Nothing.

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We have to start making some

big decisions in our world.

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Let's just start putting in some

background color for some happy little

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bushes and shrubs, and I'm just using the

corner of the brush and tapping downward.

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Just sort of let these things just happen.

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Yeah, that's one right there, but

you can make these little trees as

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full or as thin as you want them.

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It's tall or short, darker is life just

using the corner of a two inch brush.

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It's all you need.

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In our world, maybe right

here, it lives another tree.

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That's all there is to it.

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This is sort of a greenish color,

but it's not a bright green.

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It's very dull, very subdued.

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There can be a little more, a little

more color and let's go right here.

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What the heck?

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Just several layers of trees here.

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This is a fantastic way.

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If you want to make a scene that looks

like it's deep, deep in the woods,

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because you can put a layer after

layer of trees just by doing that.

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And you really have done very little work.

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And as I've mentioned

before, what is this?

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This is the lazy man's way to paint.

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I look for easy ways to make painting

work, and we try to pass those on

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to you there did I say, I thought

today we'd do a nice building.

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I get a lot of, lot of requests.

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People want to know how to

paint certain types of buildings

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that can our newsletter.

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I just, I just did a whole article

devoted to nothing but buildings

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to try to help people out there.

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I can go into too much more

detail than I can here.

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But if you learn how to do one basic

building and from that, you ought to be

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able to do about any kind of old building.

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Okay.

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That gives us some background material.

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I'm gonna go right into that

same color with a liner brush

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filled with paint thinner.

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And I want to thin this down.

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I'm going to put a little

bandaid Brown in there, too.

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What the heck?

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So I got Brown and the same color was

using to make the trees, but very thin.

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It should be like ink.

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Let's go up here.

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Now you have to make some big decisions

where your little tree trunks live in

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here and just put in the indication here

and there all kinds of things happening.

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Some of them would be so

quiet and so subdued, you just

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barely can see them there.

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And these are just like people,

some of them are tall, some short,

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some heavy, so I'm very thin.

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So tree trunks grow have,

or it makes them happy.

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So don't be afraid to experiment, but

in all kinds of weird ones, I think

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probably nothing will teach you more than

just experimenting to as many different

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things as you have the nerve to do.

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Shoot just.

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Go for it there.

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Yeah.

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Sometimes you learn more from mistakes

than you do from trying so hard.

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So anytime you, anytime you make a mistake

before you get upset with it, look at it.

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Sometimes those mistakes turn into

be the best learning devices we have.

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There we are.

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Okay.

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And I mentioned no one of the other

shows maybe even a different series.

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I don't remember.

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I get letters from people who

say, they're just not satisfied

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with what they're doing.

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That they're painting is

just, they're just not coming

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out the way they want them.

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I think if there's a secret

to human nature, it's the

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fact that we aren't satisfied.

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We're never satisfied.

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I hope you're.

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I hope you're absolutely plagued

with dissatisfaction through your

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whole life, because if you are,

you'll always strive to do better.

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And over and over.

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I tell my students, if you ever do a

painting, you're completely satisfied

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with you might as well quit because

you have nowhere else to go there.

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The next one that I do is

going to be my masterpiece.

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Probably won't be this

one, but the next one.

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And I'm just jumping all around

here and putting it all kinds

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of just little things there.

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I'm just go and grab that same old brush.

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What the heck go right back in black.

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Grab some of that yellow ochre

at this time, I'm going to have

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a little more of the ochre.

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Good.

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More Crimson.

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I got black, yellow ochre Crimson,

a little, a little bit more.

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Of the yellow ochre.

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So it's a little more greenish

and then we can wear that.

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We can just put the indication

here and there of some highlights

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still using the same old brush.

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Doesn't matter one inch brush

would work fine, or the round brush

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there, whichever one you like,

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there we go.

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I like it.

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So big brush because it's faster.

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That's all.

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They're in there.

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They're in here.

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Think about shape and form.

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Drop them Rascals in there.

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They're a few little bushes

that live back in there.

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There's another one.

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You're right there.

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See it pushes all those sticks and twigs

back and gives dimension to your woods.

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And that's what you're looking for.

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All of those fantastic little effects.

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It just, they happen.

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I painted thousands and thousands and

thousands of paintings, and I still get

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excited about this when I watch it happen.

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There we are.

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Okay.

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Maybe there's one strong tree that

lives right in this area here.

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He's a little closer.

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So I'll take black, like black back to

my yellow ochre little lizard in Crimson,

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but I want this color to be a little

darker, darker, and we basically just

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use the same color so far in all these

trees and bushes here, but just by varying

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the cover, it gives us the impression.

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That there's a lot of

different depths here.

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All you have to do is just vary

the color, the intensity, or

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the brightness of the color.

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I want to have a Bush right down here.

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It's a little closer.

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Yeah.

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Uh, to my liner, brush, paint,

thinner and van Dyke Brown.

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I want this to be thin, like ink.

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Kidding.

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And maybe I've been here, their lives

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pick old tree

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there,

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strong tree.

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Maybe he's got an arm right there wherever

you want them wherever you want them.

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Just sort of look around and

see what trees look like.

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Make friends with a tree.

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You know, if you're, if you're

a painter we're allowed to.

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We're not allowed to talk to trees and

little furry animals and things like that.

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Painters are special here.

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We're a little different, we're

a little weird and we can get

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away with stuff like that.

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There we go.

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People look at me when I'm

like, I'm a little strange.

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I go around talking to

squirrels and rabbits and stuff.

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That's okay.

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That's okay.

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I'm going to take a little

bright red right here.

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I'm a liner brush.

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Just mix it up the same way and

let's just go right up here.

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And this one.

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But the indication of a little highlight

right out on the edge of this tree.

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Just make that little sign up again.

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Stand out here and shine.

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Can you touch of the bright red

and I'm going right back into

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that same old, dirty Brown.

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Take some yellow ochre

back in the same color.

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I want this dirty looking green

color, tap some into the bristles.

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Now then let's put.

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Some nice highlights

out here on this tree.

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Think about shape and form again, don't

just throw them in at random there.

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Look at all the things

happening in that tree.

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Do you ever think you could

paint a tree that looks at

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delicate with a two inch brush?

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It really can.

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Okay, maybe down here, I put a little

highlight on this rascal, but we'll

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hammer back down now then let's get crazy.

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I'm going to fill this

whole area up with color.

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So maybe the quickest way to do it.

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I, to just take some van Dyke, Brown,

little black, just mix them, just mix

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them on the, on the two inch brush here.

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Let's just paint this and shoot.

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You could do this with a paint roller.

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Just put it here.

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I'm really pushing it right

into the fabric, though.

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A lot of pressure on the brush.

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There's not, there's not a great deal

of paint here and just really pushing

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the color right into the fabric there.

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Just Vandyke Brown and

midnight, black and black.

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See, but that quickly you have

this whole bottom area filled in.

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Can you say more brush?

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I'm just going to go into a

little touch of the yellows.

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I'm looking for a dark dirty

green color type, a little

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bit of it into the bristles.

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And we can come back here,

decide where our land lifts.

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And we can begin tapping in a

little bit of highlight a little

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bit of grassy areas there.

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And all I'm doing is just

tapping straight down.

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I want this to stay quite

subdued, quite dark soft there.

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And maybe when you do your painting

like this, you want it to be

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brighter and shinier and that's fine.

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Painting is it's a very individual.

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Anything that you want in your

painting, then that's right.

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That's just the way it should be, because

we each see nature through different eyes

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and your painting should reflect what you

see, not what somebody else tells you is.

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Right.

251

00:14:54,545 --> 00:14:57,905

But what you, what you feel is right,

what you see with your own eyes,

252

00:14:57,935 --> 00:14:59,195

what you feel with your own heart.

253

00:15:00,115 --> 00:15:02,725

Because painting the painting

to me, reflects love.

254

00:15:02,785 --> 00:15:03,595

There's a love here.

255

00:15:04,375 --> 00:15:08,725

There's a caring securing for nature,

securing for your fellow human being.

256

00:15:09,985 --> 00:15:15,564

And it shows your mood shows and

painting the way you feel the day

257

00:15:15,564 --> 00:15:19,824

that you do a painting will be there

for as long as that painting lasts.

258

00:15:19,855 --> 00:15:23,685

It's just, it's a second of time

captured and stuck on canvas.

259

00:15:23,755 --> 00:15:24,954

Maybe you want to look at it that way.

260

00:15:26,035 --> 00:15:28,704

Let's do a building pack with

all this I'm going to come right.

261

00:15:29,625 --> 00:15:31,094

What I find it's easiest.

262

00:15:31,094 --> 00:15:36,285

If you take your knife and scrape out a

basic shape, let's do an old barn today.

263

00:15:36,375 --> 00:15:36,824

What the heck?

264

00:15:38,385 --> 00:15:39,944

We'll do a big, big building.

265

00:15:41,505 --> 00:15:43,155

As I say, I'm getting quite a few letters.

266

00:15:43,155 --> 00:15:47,324

People want to see how to do a big

bill, like, so we'll do an old barn.

267

00:15:48,165 --> 00:15:50,805

And so you already begin to

make out the basic shapes.

268

00:15:54,105 --> 00:15:56,895

There now I'm down.

269

00:15:58,635 --> 00:16:01,705

I can't see you.

270

00:16:01,705 --> 00:16:03,225

Can you see what I'm scraping out here?

271

00:16:03,525 --> 00:16:04,425

It does two things.

272

00:16:04,425 --> 00:16:08,145

It allows you, it allows you to lay your

building out without being committed.

273

00:16:08,805 --> 00:16:11,805

And, but it also removes that

excess paint that's underneath.

274

00:16:11,845 --> 00:16:13,515

So the next layer sticks easier.

275

00:16:14,489 --> 00:16:22,560

Maybe there's some, yeah, maybe it comes

out like it, look at that over here.

276

00:16:22,739 --> 00:16:24,239

Maybe it comes out right in here.

277

00:16:25,469 --> 00:16:28,140

However, you're still not committed.

278

00:16:28,140 --> 00:16:31,829

All you've done here is just lay out

a basic shape and I'm going to take

279

00:16:32,130 --> 00:16:36,180

the knife, pulled out some Bendeich

Brown, cut off a roll of paint.

280

00:16:36,660 --> 00:16:38,579

See that little roll of paint

right down the edge here.

281

00:16:38,640 --> 00:16:38,939

Go ahead.

282

00:16:40,050 --> 00:16:41,699

Now, then let's begin.

283

00:16:41,699 --> 00:16:42,180

Laying in.

284

00:16:43,155 --> 00:16:43,814

Our shapes.

285

00:16:44,985 --> 00:16:47,385

And this is the time to start

being a little more careful

286

00:16:47,415 --> 00:16:48,825

before it didn't matter.

287

00:16:50,445 --> 00:16:53,355

Now you want to start

making big decisions.

288

00:16:54,255 --> 00:16:56,145

Maybe this whole barn's

a little sway back.

289

00:16:56,175 --> 00:17:00,855

Let's do an old barn, years and years.

290

00:17:00,855 --> 00:17:01,545

It's set here.

291

00:17:02,385 --> 00:17:07,425

The old timbers in the middle are

getting weak and like me, it's tired.

292

00:17:07,875 --> 00:17:08,865

It's ready for rest.

293

00:17:10,500 --> 00:17:12,960

There now we can just

begin blocking this end.

294

00:17:12,990 --> 00:17:18,480

All we're doing, just block it

in color, just blocking in color.

295

00:17:20,810 --> 00:17:22,250

They're like that easy.

296

00:17:23,720 --> 00:17:25,820

And this comes down.

297

00:17:28,070 --> 00:17:29,780

So, yeah.

298

00:17:30,260 --> 00:17:34,280

And we said there was going to

be some more of it came out there

299

00:17:34,310 --> 00:17:38,780

that way now, you know, there's S.

300

00:17:39,120 --> 00:17:41,189

Just hundreds of different kinds of barns.

301

00:17:41,939 --> 00:17:45,719

So pick the kind of barn to what

the principles are, basically

302

00:17:45,719 --> 00:17:48,449

the same, doesn't matter.

303

00:17:48,449 --> 00:17:52,889

What kind of aren't you doing the

principles of pretty much the same

304

00:17:55,679 --> 00:18:00,000

bear we are now on this side, we

need not the little protrusion.

305

00:18:00,750 --> 00:18:00,870

Yeah.

306

00:18:06,915 --> 00:18:07,514

There we are.

307

00:18:07,965 --> 00:18:08,564

And just paint.

308

00:18:08,564 --> 00:18:10,185

I'm just pushing it right into the fabric.

309

00:18:10,185 --> 00:18:11,715

I need that dark color underneath.

310

00:18:12,344 --> 00:18:14,084

So we put some highlights on top of it.

311

00:18:15,294 --> 00:18:17,855

It'll show up there.

312

00:18:20,435 --> 00:18:20,855

Okay.

313

00:18:21,205 --> 00:18:24,485

Keep going down there we are.

314

00:18:29,105 --> 00:18:31,294

We've got a pretty good old

barn shape going there already.

315

00:18:32,584 --> 00:18:33,334

No bad.

316

00:18:34,440 --> 00:18:35,220

Let's have some fun.

317

00:18:35,250 --> 00:18:39,780

Now we can begin putting color into our

barn and we'll take some bright red,

318

00:18:40,310 --> 00:18:43,220

use some dark Sienna on a dull it down.

319

00:18:43,230 --> 00:18:44,340

It's too bright, too bright.

320

00:18:44,370 --> 00:18:45,270

Unless we tell it down.

321

00:18:46,110 --> 00:18:47,610

Maybe put a little Vandyke in there.

322

00:18:48,960 --> 00:18:53,130

There, I don't want this painting

to be bright, but once again, if you

323

00:18:53,130 --> 00:18:58,170

want yours to be brighter, then all

you have to do is make it that way.

324

00:18:58,725 --> 00:19:00,375

We just want to show you how

to make it, then we're going

325

00:19:00,375 --> 00:19:01,605

to turn you loose on the world.

326

00:19:02,145 --> 00:19:04,095

Cut off our little rule

of paintless credit pair.

327

00:19:04,965 --> 00:19:08,564

Now then let's put some, let's

put some roof up here and I'm just

328

00:19:08,564 --> 00:19:10,034

going to let that knife just bounce.

329

00:19:13,875 --> 00:19:15,314

It helps to make those little sounds.

330

00:19:15,314 --> 00:19:18,074

Maybe I'd make that a tiny bit

brighter so you can see it a

331

00:19:18,074 --> 00:19:19,125

little better a little while.

332

00:19:19,195 --> 00:19:24,044

Didn't don't think it's showing

up as well as it should.

333

00:19:24,764 --> 00:19:25,334

There we go.

334

00:19:25,395 --> 00:19:26,145

Now you can see.

335

00:19:27,225 --> 00:19:28,844

Just let it bounce right along there.

336

00:19:30,764 --> 00:19:37,935

Helps you make him little sounds

there once again, all this to be old.

337

00:19:37,935 --> 00:19:41,084

So these, the old shingles

up here where they caught the

338

00:19:41,084 --> 00:19:42,284

devil, some of them are gone.

339

00:19:44,175 --> 00:19:48,715

Some of them blow it away in the last

storm and it looks up at the rest of it.

340

00:19:48,715 --> 00:19:52,844

I'm going to go in the next door there.

341

00:19:59,820 --> 00:20:06,120

A little bit over on this

side, there were shoot.

342

00:20:06,120 --> 00:20:09,120

Or we got those shingles going.

343

00:20:09,270 --> 00:20:10,260

Let's put some out here.

344

00:20:11,970 --> 00:20:12,210

All right.

345

00:20:14,590 --> 00:20:14,730

Are

346

00:20:18,030 --> 00:20:20,040

we still, was that easy

to actually build a barn?

347

00:20:23,730 --> 00:20:28,320

My father was a carpenter and

I grew up building things.

348

00:20:28,320 --> 00:20:30,030

I worked in houses all over Florida.

349

00:20:31,230 --> 00:20:34,290

Like if you live in Florida, you

very possibly could live in a house

350

00:20:34,290 --> 00:20:41,480

that my dad and I worked on there

and he was a master carpenter.

351

00:20:41,510 --> 00:20:44,450

Well, he could do some beautiful

things, beautiful things.

352

00:20:46,730 --> 00:20:49,220

Let's take a little dark Sienna, white.

353

00:20:49,530 --> 00:20:52,950

Pull it out, very flat cut across to

get our little roll of paint again.

354

00:20:54,830 --> 00:20:57,110

That's the icing on the cake here.

355

00:20:59,000 --> 00:20:59,480

Look at that.

356

00:21:00,050 --> 00:21:00,139

Okay.

357

00:21:00,170 --> 00:21:02,060

This is just like you're

putting snow on the mountain.

358

00:21:02,060 --> 00:21:05,300

If you painted the day before and

done the mountains and you've mastered

359

00:21:05,300 --> 00:21:07,610

that this is easy for you to do.

360

00:21:11,629 --> 00:21:17,420

And I want to make us look

like old weathered wood there.

361

00:21:20,550 --> 00:21:21,419

There we go.

362

00:21:25,679 --> 00:21:26,280

Beautiful.

363

00:21:28,280 --> 00:21:30,679

Delicate touch does not take any pressure.

364

00:21:32,210 --> 00:21:37,610

The knife will literally literally allow

the paint just to come right off just the

365

00:21:37,610 --> 00:21:40,790

right amount, a little dark right up here.

366

00:21:40,790 --> 00:21:41,629

Cause there'll be a shadow.

367

00:21:41,629 --> 00:21:44,540

Went to that edge, a little bit

of Brown right in that edge.

368

00:21:46,100 --> 00:21:46,429

There.

369

00:21:50,055 --> 00:21:53,555

Now pick a little Vandyke

Brown I'll mix that same color.

370

00:21:53,555 --> 00:21:58,235

I want a dark it on to make it

darker than it was now over here.

371

00:21:59,675 --> 00:22:02,345

It's going to be much darker

on this side from much, much

372

00:22:02,375 --> 00:22:06,875

darker, just like so, okay.

373

00:22:07,145 --> 00:22:08,165

Let's put a door in here.

374

00:22:08,555 --> 00:22:10,445

Big door is right there.

375

00:22:11,465 --> 00:22:11,555

Okay.

376

00:22:11,850 --> 00:22:12,929

And that's all there is to it.

377

00:22:13,110 --> 00:22:16,080

Now we can take our knife,

we can do a bar next to me.

378

00:22:16,230 --> 00:22:19,560

We can just cut it off

wherever we think it should be.

379

00:22:24,050 --> 00:22:25,520

Thanks for straight Venn diagram.

380

00:22:25,550 --> 00:22:29,750

You can just put the indication

of boards here and there, there

381

00:22:31,820 --> 00:22:35,659

looks like a lot of old boards now

382

00:22:38,929 --> 00:22:40,070

let's have some fun.

383

00:22:40,440 --> 00:22:45,660

We'll put some dark green grass all around

his foot begin bringing that all together.

384

00:22:45,690 --> 00:22:51,720

Just use a two-inch brush,

just begin playing in all

385

00:22:51,720 --> 00:22:53,070

kinds of little grassy things.

386

00:22:57,450 --> 00:23:00,660

Just like, so over here, that direction.

387

00:23:05,879 --> 00:23:10,050

I'm just using CAD yellow, little

Indian, yellow, yellow, yellow ochre

388

00:23:10,050 --> 00:23:16,290

here and there and work in layers there.

389

00:23:21,795 --> 00:23:23,175

Came back to the other side

390

00:23:27,075 --> 00:23:32,025

quick, you can do that little

touch, the bright red here

391

00:23:32,025 --> 00:23:32,895

and there, but nothing much.

392

00:23:32,955 --> 00:23:33,795

No, not too much.

393

00:23:33,795 --> 00:23:36,435

Just keep it a little spark.

394

00:23:37,275 --> 00:23:39,825

I want this to remain very

subdued in the foreground here.

395

00:23:41,175 --> 00:23:42,525

Don't want it to get too bright.

396

00:23:46,425 --> 00:23:47,265

There we go.

397

00:23:48,585 --> 00:23:52,485

Nancy takes a Vandyke Brown on

the knife and maybe here and

398

00:23:52,485 --> 00:23:53,895

there, you can see what remains.

399

00:23:55,605 --> 00:23:56,895

He used to be an old path here.

400

00:24:00,135 --> 00:24:04,145

The grass is beginning to grow

up over here and there a little

401

00:24:04,155 --> 00:24:08,025

of it remains just a little.

402

00:24:15,435 --> 00:24:17,355

Little bit of grass that

comes right up over the path.

403

00:24:17,985 --> 00:24:19,605

Cause it's about to eat this path up.

404

00:24:19,605 --> 00:24:20,324

What's left of it.

405

00:24:21,975 --> 00:24:25,034

Say phase when you're painting, like

yes, makeup, little stories in your

406

00:24:25,034 --> 00:24:30,284

mind, and there's a reason for all this

happening and it makes it much more fun.

407

00:24:32,415 --> 00:24:34,725

Tell you what, let's have a little fence.

408

00:24:34,935 --> 00:24:37,455

Don't take Vandyke Brown,

just use a small night.

409

00:24:37,995 --> 00:24:40,544

Maybe it was a little fan is

still part of it hanging out.

410

00:24:41,625 --> 00:24:42,555

Right about there.

411

00:24:43,035 --> 00:24:44,595

Just that little roll

of paint on the knife.

412

00:24:46,095 --> 00:24:46,635

There it is

413

00:24:50,055 --> 00:24:51,195

just an old fence.

414

00:24:54,795 --> 00:24:59,805

It's a rough looking off and he's had a

hard life to the Brown and white touch.

415

00:24:59,805 --> 00:25:00,345

The edges

416

00:25:03,855 --> 00:25:04,275

there.

417

00:25:07,715 --> 00:25:08,835

Get the big knife here.

418

00:25:10,229 --> 00:25:15,870

And put the indication of a few

rails that are still hanging on.

419

00:25:17,610 --> 00:25:18,689

There they go.

420

00:25:21,649 --> 00:25:21,860

Hmm.

421

00:25:22,189 --> 00:25:28,729

And then super, you can make a fence that

fast, the grass around the bottom cuts his

422

00:25:28,729 --> 00:25:30,290

little foots off and brings it together.

423

00:25:30,649 --> 00:25:33,409

Tell you what got just a

couple of minutes left here.

424

00:25:33,780 --> 00:25:34,250

You know, me?

425

00:25:34,280 --> 00:25:35,239

I like big trees.

426

00:25:36,375 --> 00:25:38,205

That's have a big trees.

427

00:25:38,955 --> 00:25:39,585

There's right there.

428

00:25:41,405 --> 00:25:43,925

Maybe he's got another

arm cups right there.

429

00:25:43,925 --> 00:25:45,365

And this is straight Vandyke Brown.

430

00:25:47,315 --> 00:25:47,545

Yes.

431

00:25:48,275 --> 00:25:51,605

I like his big trees because

it pushes everything back.

432

00:25:53,045 --> 00:25:55,085

Just makes the painting look much deeper.

433

00:25:56,255 --> 00:25:57,755

Take a little Brown and height.

434

00:25:58,745 --> 00:25:59,795

Come right down this side.

435

00:26:01,895 --> 00:26:04,775

Just put the indication of

some light striking that truck.

436

00:26:06,555 --> 00:26:06,885

There.

437

00:26:12,605 --> 00:26:12,945

Okay.

438

00:26:12,965 --> 00:26:14,315

Need some leaves on our tree.

439

00:26:14,885 --> 00:26:18,545

We'd take a little black, little yellow

ochre mixed together, very dark, though.

440

00:26:19,775 --> 00:26:20,645

Very, very dark.

441

00:26:20,765 --> 00:26:22,265

And maybe their lives in our world.

442

00:26:24,335 --> 00:26:29,155

Some nice leaves right out there

wherever you think they should.

443

00:26:29,255 --> 00:26:31,535

Hey, you there.

444

00:26:34,005 --> 00:26:34,815

Right about here

445

00:26:38,955 --> 00:26:40,485

and you can make these chemists far.

446

00:26:40,815 --> 00:26:44,085

Do you want or leave them

short, whatever, little yellow

447

00:26:44,085 --> 00:26:47,265

ochre, a little bit of black.

448

00:26:49,065 --> 00:26:50,055

Let's go back in here.

449

00:26:50,925 --> 00:26:53,625

Put the indication of a

few highlights once again.

450

00:26:53,655 --> 00:26:55,155

I want this to remain quite dark.

451

00:26:57,255 --> 00:26:58,515

I want it to remain dark.

452

00:27:00,450 --> 00:27:02,430

I think we're on the verge of

having a finished painting.

453

00:27:03,180 --> 00:27:06,380

They'll clock on the wall tells me

I'm about out of time I'm for today.

454

00:27:07,130 --> 00:27:11,120

So from all of us here, I'd like to

wish you happy painting and God bless.

End .srt file.

Bob Ross' The Joy of Painting

Tuesday, December 29, 2020

S15E03 - Grandpa's Barn

Bob Ross's

The Joy of Painting

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