Bob Ross's

The Joy of Painting

S16E06 - Contemplative Lady

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welcome back.

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I'm certainly glad you

could join me today.

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You know, we get hundreds of

letters here at the joy of painting.

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And one of the things that I read

over and over again is people want

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to learn how to do a basic face.

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Just how to paint the human face.

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But I think I told you the story

of years and years ago when I was

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going to school, that my instructor

became a very good friend.

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And after a long period of time,

he took me aside one, even he says,

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Bob, I want to tell you the truth.

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I want you to go out and

paint bushes and trees.

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Cause that's where your heart is and

leave portrait, painting to someone else.

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Well, I thought today I would

bring that gentleman here.

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His name is John . He comes to

us from cor d'Alene Idaho, and

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he's one of the most fantastic

portrait painters in the country.

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And he's going to show us today how to,

just to do a basic figure, how to block in

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a face, how to get the proportions, right?

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The things that we normally

have a lot of problems with.

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And I think he's going to show you

a technique that you will find.

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Easy enough that you can do at home

with very little practice, John,

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welcome to the joy of painting.

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We're so glad to have you here today.

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Well, thank you for having me, Bob.

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Well, good, John, what

are you going to do today?

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I'm going to explain a technique

called the, um, wipe out technique.

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Um, it has to do primarily with the

surface that we're painting on, which is

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a shellacked surface Bob, and allows a

person with a rag to get up here and just

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wipe down this canvas and create lights

that are already on there or apply paint.

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And then just simply

wipe it out with the rag.

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It's a subtractive process as

well as an additive process.

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Uh, we'll start today with just

the basic shape of the head.

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Uh, the human head is roughly eight inches

high and approximately six inches wide.

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These are just all

average, uh, dimensions.

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Uh, the first thing that we do is

find what's called the median line.

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That's the line that trans versus

from the center of the center of the

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forehead, right down through the nose,

through the center of the lips, down the

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chin, right down the base of the neck.

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And we can put that line anywhere we want

to, and be able to tip and turn the head

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in any kind of a fashion that we choose.

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Let's say we want a three quarter

view of the head on a tilt.

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The head is sort of an egg shape.

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Like, so

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if we cut through the center,

that's roughly where the eyes are.

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The line.

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If we go halfway between that

point and the base of the

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chin, that's where we find the.

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Bottom of the nose, this area right

in here, which collects some shadow.

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Dan, if we go halfway between that

point and the base of the chin,

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that's roughly where the mouth lies.

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Now you can see by just putting

in some shadow areas in the

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eye, sockets, this area in here.

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The nose is simply nothing much more

than a wood shape on the dark side.

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There's usually quite a lot of,

quite a lot of shadow collects

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right underneath the lower lip.

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So what we're doing is finding those

shadow areas and then we'll come back

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later on and start defining features.

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Well, what we want to do is find

these shadow areas and make this head

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began to have some three dimension.

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So I'll play the devil's advocate here,

John, if you don't mind, basically, what

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you're going to do is apply the shadows

first and then pull the highlights out.

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Is that correct?

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Bob, if we come back in here with the

rag, And establish a light source.

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First, we'll say that the light is going

to be coming from, from this direction.

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I'll make a little arrow up here.

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So we don't forget what side

the light is coming from.

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All that means that then we can come

back with the rag and find some light

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that would hit on this cheek over here.

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A good deal of the forehead

would be cast in extreme light.

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Okay.

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This slip on this side, the plane,

and then down here on the chin,

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it's fascinating that

you can do with the rag.

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What most of us work so

hard to do with a brush?

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And so someone at home doing

this needs only a minimum amount

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of equipment, is that correct?

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Well, it's a quick and simple

method that really requires very

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little in the way of, uh, tools.

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Uh, as you can see, I'm primarily working

with just two, two sizes of brushes,

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one smaller one, and a larger brush.

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And these are bristle brushes

that you're using, right?

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Just oil painting brushes.

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This is a half an inch brush.

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This is a one inch brush.

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And we will come back

and establish the lips.

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The lips really are nothing much more

than a couple of triangles that are

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then hooked together a little bit here.

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Find some more light that

would hit on the lower lip.

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Generally speaking, the

upper lip is, is in shadow.

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The lower lip has some light cast on it.

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Then back to shadow again

for underneath the lower lip.

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But just by putting that highlight in the

little shadow in there, John ups, I see

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a lift there it's beginning to develop.

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Um, now let's, let's

find the, uh, the eyes.

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There's roughly the distance

of an eye between eyes.

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If we were to determine the, um, the width

of the eye would take up an area about

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like, so Bob and the same with this one,

and then, um, the width of an eye and

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between, uh, we can come back with the

rag and find the highlight that would come

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down the plane, the plane of the nose.

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you're doing a little more

dark underneath the, underneath

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the nose, right in this area.

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Now the corners of the mouth

really control expression.

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If we want to find a smile, we can move

this, move this, uh, paint around and.

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First thing, you know, we're, we've

established a trace of a smile here.

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What I see here already, as you know,

I'm always telling people when I'm

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painting that we don't make mistakes.

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We have happy accidents

that it looks to me.

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Like there's nothing

that you can't correct.

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Change, fix, move shift in any

way that you desire on this.

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It's the most flexible way

that, that I've found to work?

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Um, a big disappointment disappointment

for me as a student was that, uh,

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I, I get what I felt was a good

drawing started and then maybe I

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wanted to change it in some fashion.

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And, uh, the surface that I worked

on was usually adjustable surface.

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It was absorbent.

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And, uh, once the drawing was down

there, there was no way you could

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shift or move or change it around.

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I understand the paint

would stay in the canvas.

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And you were, you were stuck with right.

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And not with this method.

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This method allows change

at any at any point.

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What could you use this

method to say paint animals?

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Sure.

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You could use it to paint.

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Any, anything even landscapes Bob.

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Oh, maybe it wasn't one of

the shows in the future.

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We'll.

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We'll get you back here and have you

do a landscape with us and show how

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you would use this to do a landscape

or maybe maybe one day you'd come back

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and paint, like the little owl that

I had on one of the shows earlier.

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Sure.

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That'd be fine, Bob.

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And I enjoy that.

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This to me, it looks like the

CPR baritone photographs that

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I remember when I was younger.

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And I think they're still doing

them a lot in around the country

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where you have the Brown tones.

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I'm working with limited palette here,

primarily burnt Sienna and raw umber.

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And, uh, that's why it

has that look about it.

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I love this effect it, as I say, it looks

like the old type photographs to me.

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I still have some of those of my

family from years and years ago

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that this is just defining the nose and.

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As I say, the nose is

just a basic wedge shape.

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We can come back and

find a few more values.

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Maybe just the trace of the nostril.

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I remember when I was trying to paint

heads saying this, the nose always

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seemed to be the thing that I had

the most problem with is that normal.

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Yeah, the nose is a difficult area.

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It has to, it has to line up properly.

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This is a key to the whole thing.

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This median line that goes right

down the center of the forehead,

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which has pretty much disappeared.

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Now you can still see traces of it here.

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So everybody seems to have

this problem with the nose.

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I wasn't, I wasn't the

only one that's no, no.

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I was playing for they weren't

you weren't by yourself, Bob.

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Uh, it seems like I remember one

artist that had trouble painting years,

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so he just removed one old Vincent.

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Okay.

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You know, I had talked to John about

maybe doing a portrait of me and he

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said, well, that would be a little bit

too simple because all he'd have to do

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is paint a Brillo pad and put in it.

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I wouldn't go and tell that story,

but I decided what I'm going

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to, I'm going to tell on you.

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Good and restrain yourself.

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No, just paint a Brillo pad with eyes that

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Now did you just put some eyes in there?

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How was it?

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Yeah, now we've shifted to a

darker color to burnt Sienna

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and we were rough in the hair

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almost taking on a clown,

like appearance here.

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Isn't it, Bob.

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It really is.

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I like that though.

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I like the colors that you're using

the earth tones are so pretty.

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Here's another area where expression

lies in the, um, the eyebrows.

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Then by changing the eyebrows,

you can actually change the

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expression of the whole portrait.

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You certainly can.

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Let's do it.

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Okay.

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You mean at this point now you can

still, with this technique, change

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your mind, or you could, you could turn

this person and give him a different

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expression, kind of an expression.

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Let's say we want to go from, from

this smile to, uh, to a bit of a frown.

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Let's try that.

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We'll move the mouth up slightly.

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Turn down the corners.

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Hmm.

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Yeah.

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He's looking to meet her already

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find that line that sometimes

goes from the weighing of the nose

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down to the corner of the mouth.

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We almost have a.

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No open mouth screamy, kind of a look now

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can change it again by

moving this lower lip up.

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Now you're literally pushing

that paint with your finger.

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Just moving it around with

the finger and the rag.

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Uh, is there any special type

of rag that you need for this?

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Or just, just a cotton rag.

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Acrylics don't work real well.

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They're not absorbing enough.

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Hmm.

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And that little turning there

just made the end of the nose.

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Okay.

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All right.

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If you want to start defining

the eyes, we can pull a little

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light out and then find that.

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That upper eyelid that

cuts across the eye.

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I'll be doing more dark in here.

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It just sort of, it sort of happens.

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well, you're making me believe

that I can paint portraits again.

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I may have to go back and sure

you could, but you always could.

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Anybody can it's the, the F the

foundation of the thing is finding the

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major planes of the face and the, uh,

the proper placement of the features.

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Okay.

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And by dividing it the way you showed

us at the beginning, it just clicks.

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Find that median line, find the

eyeline, the base of the nose.

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Yeah.

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The mouth, all there is to it.

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Okay.

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I'm fascinated with the way

you keep changing this person.

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I've seen two or three different people

here already different expressions,

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and you can still move the paint.

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We can also continue to change

the, uh, the lighting effect.

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If we want to cast this whole side and

more shadow would come back and apply more

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paint, smooth it around this sort of looks

like Rembrandt lighting where one side

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of the face is almost totally in shadow.

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And the other side is quite bright, right?

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Kira Schiro lighting.

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So what it's called or

Rembrandt, Rembrandt lighting.

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That may be one of my

favorite types of lighting.

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I like to see photographs done like that.

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now you're painting on a, a Mason

night panel today, if I'm not mistaken.

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Okay.

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That's right.

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It has two coats of Jesso on it.

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And then a coat of shellac and the

shellac is what allows us to move this

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paint around so quickly and easily.

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okay.

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Now we're getting into a neck.

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Find the neck line over here.

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Teresa was shoulder.

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Okay.

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and that easily we have

the basic basis of a Nick.

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Try to find this depression

that's right in the center of,

245

00:16:37,335 --> 00:16:41,205

of the rib cage right here.

246

00:16:45,635 --> 00:16:51,455

Do you have to have a study or a good

knowledge of anatomy to paint portraits?

247

00:16:51,485 --> 00:16:54,335

Or can you just learn

this and just work at it?

248

00:16:58,305 --> 00:17:02,745

It helps to understand anatomy, but

it's not absolutely necessary if you

249

00:17:02,745 --> 00:17:07,545

know, these, these basic divisions,

the placement of the eyes and nose

250

00:17:07,545 --> 00:17:11,984

and the mouth simplify scenes greatly.

251

00:17:14,075 --> 00:17:17,615

So then a person who does not have

an extensive knowledge of anatomy can

252

00:17:17,615 --> 00:17:19,055

be a pretty good portrait painter.

253

00:17:21,275 --> 00:17:21,964

I understand.

254

00:17:21,964 --> 00:17:22,474

Of course it is.

255

00:17:22,474 --> 00:17:27,555

Portraiture is a specific, um,

Uh, approach to painting the head.

256

00:17:27,885 --> 00:17:33,525

And before, uh, before you can do

specific work, such as portraiture,

257

00:17:33,525 --> 00:17:37,935

you really should do a lot of heads

in it just to kind of a general way

258

00:17:40,865 --> 00:17:45,575

working from, from memory and, and, um,

259

00:17:48,575 --> 00:17:49,895

and your imagination.

260

00:17:51,660 --> 00:17:55,410

When do you prefer to work from like a

photograph or to have a person actually

261

00:17:55,410 --> 00:17:56,340

sitting there when you're there?

262

00:17:56,390 --> 00:18:01,430

No, I'd really much rather have somebody

sit for me than then use photographs.

263

00:18:01,430 --> 00:18:05,570

But even though that they're moving

at, you can pretty well work with it.

264

00:18:05,630 --> 00:18:05,990

Right.

265

00:18:06,620 --> 00:18:07,790

What'd you just do to the eye there.

266

00:18:07,790 --> 00:18:09,080

All of a sudden that eyes beautiful.

267

00:18:09,470 --> 00:18:13,550

I picked out the, uh, the light

that's on the, uh, the upper lid.

268

00:18:16,560 --> 00:18:22,169

Uh, we can come back and put some

dark in above that, above that eyelid.

269

00:18:22,270 --> 00:18:22,600

Yeah.

270

00:18:25,790 --> 00:18:35,419

Do you find a nice, fine, just the don't

want to outline the eyes, but if we can

271

00:18:35,419 --> 00:18:39,800

find that where that lower lid would be.

272

00:18:41,415 --> 00:18:44,445

We can come back and pick

some more light out in here.

273

00:18:47,435 --> 00:18:50,165

Is there a big difference in

painting adults and children,

274

00:18:50,165 --> 00:18:51,785

or is that pretty much the same?

275

00:18:53,045 --> 00:18:54,815

Oh, the basic approach is the same.

276

00:18:54,815 --> 00:18:58,205

The dimensions of the head

are, are somewhat different.

277

00:18:59,075 --> 00:19:03,065

The child's head is one more

round, more around wider.

278

00:19:04,295 --> 00:19:08,765

The relationship is not

so long and, and a wider.

279

00:19:09,679 --> 00:19:13,230

Understand and the compression

of the features, the features are

280

00:19:13,230 --> 00:19:14,939

all pulled in tighter together.

281

00:19:29,300 --> 00:19:29,510

Okay.

282

00:19:29,510 --> 00:19:36,470

Now this is, this will do what,

uh, this defines the mouth or there

283

00:19:36,470 --> 00:19:41,520

again, we don't want to, um, To

just draw, uh, a one line for the

284

00:19:41,520 --> 00:19:44,280

mouth, find the corners of the mouth.

285

00:19:45,060 --> 00:19:48,630

And there's usually more

darkness in, in, in this area,

286

00:19:48,630 --> 00:19:50,520

right in here in the corners.

287

00:19:51,300 --> 00:19:58,550

And there again, that's that's area that

defines the expression and by changing the

288

00:19:58,550 --> 00:20:02,450

corner of the mouth, you could literally

change the expression on a figure

289

00:20:02,450 --> 00:20:03,770

when you're painting it, like right.

290

00:20:04,530 --> 00:20:06,480

Another method for removing paint.

291

00:20:06,480 --> 00:20:09,360

Besides the rag is a dry brush like this.

292

00:20:09,360 --> 00:20:10,860

I think you do this sometimes.

293

00:20:10,860 --> 00:20:12,139

Don't you Bob, right?

294

00:20:12,169 --> 00:20:16,129

Where we use a dry brush to pick up

excess pickup, move it around, pull

295

00:20:16,129 --> 00:20:20,959

out areas, find lost and found lines.

296

00:20:28,730 --> 00:20:30,470

And you're going to pick out some.

297

00:20:30,960 --> 00:20:35,220

Some more highlights now around the more

lights right in here around the chin area.

298

00:20:35,610 --> 00:20:40,200

It'd be dark in this lower lip, slightly.

299

00:20:55,035 --> 00:20:57,495

Thighs are a bit too close together.

300

00:20:57,495 --> 00:21:01,155

We can move things, just

start shifting things over.

301

00:21:01,625 --> 00:21:05,615

You mean you can literally take a

brush and move his eye, just move

302

00:21:05,615 --> 00:21:08,825

things in the direction that you

want them to go in and then come

303

00:21:08,825 --> 00:21:12,905

back and re-establish things again.

304

00:21:15,005 --> 00:21:15,695

Oh, you're serious.

305

00:21:15,695 --> 00:21:17,735

When you say you really can't

make a mistake with this,

306

00:21:19,115 --> 00:21:21,005

it's a very flexible approach.

307

00:21:24,075 --> 00:21:26,745

Well, this is, this is the

way I, I have to paint.

308

00:21:27,225 --> 00:21:32,895

I need the room to make an error and then

it doesn't create a major catastrophe.

309

00:21:34,365 --> 00:21:37,605

So this is exactly the kind of

painting that I'm looking for.

310

00:21:37,605 --> 00:21:41,115

And I know a lot of people who watch

the shows like to be able to, to be

311

00:21:41,115 --> 00:21:46,155

flexible and to move, change their

mind and to just really enjoy it.

312

00:21:46,155 --> 00:21:49,005

And I think this is very adaptable.

313

00:21:50,685 --> 00:21:51,735

Might be for them.

314

00:21:54,935 --> 00:21:57,695

I have to mention John has a

gallery in Coeur d'Alene, Idaho,

315

00:21:57,695 --> 00:21:59,645

that's him and his wife, Kathy run.

316

00:22:00,275 --> 00:22:05,765

And John has mentioned if anybody ever

stops by quarter lane and you're there

317

00:22:05,885 --> 00:22:09,725

as a tourist or enjoying the scenery,

stop by and see them and look at some

318

00:22:09,725 --> 00:22:11,705

of the works that he has on display.

319

00:22:12,275 --> 00:22:15,935

I think you would enjoy

immensely seeing how versatile

320

00:22:15,935 --> 00:22:17,345

this man is and what he can do.

321

00:22:18,105 --> 00:22:22,185

And the gallery's open most of the time

and just, just stop in and say hello

322

00:22:22,185 --> 00:22:24,045

and spend a little time with them.

323

00:22:24,315 --> 00:22:24,795

You shoot.

324

00:22:24,795 --> 00:22:26,985

You might even talk him into

doing a portrait on the spot,

325

00:22:34,445 --> 00:22:38,435

probably doing John Lane in a little

hair now roughing in the hair, right.

326

00:22:39,095 --> 00:22:41,135

This changes the appearance greatly.

327

00:22:43,455 --> 00:22:47,235

No Brillo pad, no Brillo pad today, but

328

00:22:50,715 --> 00:22:51,765

I'm gonna be another day.

329

00:22:52,155 --> 00:22:56,535

Um, I'm never gonna forget that man tells

me all he has to do is paint a Brillo

330

00:22:56,535 --> 00:22:58,365

pad with eyes and he has my portrait.

331

00:23:00,645 --> 00:23:03,375

Maybe I'll maybe I'll have to

change my hairstyle in the future.

332

00:23:11,765 --> 00:23:12,245

there.

333

00:23:13,175 --> 00:23:20,495

That is really something I'm so impressed

to see how that hairline changed things.

334

00:23:20,495 --> 00:23:22,205

Bob, it looks like a different person.

335

00:23:22,265 --> 00:23:22,565

Yeah.

336

00:23:23,345 --> 00:23:24,515

It is a different person.

337

00:23:26,105 --> 00:23:27,305

Just with a few strokes.

338

00:23:35,805 --> 00:23:40,365

Totally different person can get back in

here now and pull out some highlights.

339

00:23:54,545 --> 00:23:58,145

and you're still just using the rag and

lifting paint off right handle that's

340

00:23:59,075 --> 00:24:00,965

same procedure all the way through.

341

00:24:00,965 --> 00:24:02,945

We haven't really changed a great deal.

342

00:24:08,600 --> 00:24:12,710

now, if you were going to turn this into

a portrait that had all the colors and

343

00:24:12,710 --> 00:24:14,570

et cetera, how would you carry that out?

344

00:24:14,570 --> 00:24:15,410

You'd let this dry.

345

00:24:15,410 --> 00:24:19,760

Of course, let this dry and then

come back and carefully match up

346

00:24:19,790 --> 00:24:22,129

the tonality of each of the areas.

347

00:24:22,399 --> 00:24:27,770

Find the light side of the

face and the a half tones.

348

00:24:29,685 --> 00:24:30,615

By halftones.

349

00:24:30,615 --> 00:24:37,635

I mean, all those mid range values,

and then the darks and just apply

350

00:24:37,635 --> 00:24:42,225

those, those colors right over the

top of this one, when it was dry.

351

00:24:44,865 --> 00:24:47,495

Do I have to tell them, you

know, years ago you painted

352

00:24:47,495 --> 00:24:48,784

a portrait of Steve for me.

353

00:24:49,385 --> 00:24:50,435

Oh, I remember that.

354

00:24:50,435 --> 00:24:50,705

Yeah.

355

00:24:50,735 --> 00:24:53,314

Steve was in the fifth grade

and that's back when he was

356

00:24:53,314 --> 00:24:54,605

only about four foot tall.

357

00:24:54,605 --> 00:24:57,965

He's now six foot five is

everybody knows that son of a guns.

358

00:24:58,850 --> 00:25:01,680

He grew up on me, but I

still have that portrait.

359

00:25:01,680 --> 00:25:03,360

And it's in my collection of art.

360

00:25:03,420 --> 00:25:06,810

It's maybe one of my

most prized possessions.

361

00:25:06,840 --> 00:25:09,389

I think it's absolutely spectacular.

362

00:25:09,990 --> 00:25:13,379

Would, would you have any objection

maybe in one of the later shows I would

363

00:25:13,440 --> 00:25:17,370

bring that in and, and let everybody

see it, uh, be delighted, Bob, if you

364

00:25:17,370 --> 00:25:21,750

did that, I think people at home would

enjoy seeing what you can do with this.

365

00:25:22,080 --> 00:25:24,420

If you just continue

on after you have your.

366

00:25:24,840 --> 00:25:26,360

Your basic wipe out done.

367

00:25:26,570 --> 00:25:28,800

And as you were saying,

begin, adding your colors in,

368

00:25:34,070 --> 00:25:37,010

I think we still have time to

narrow this head down a little

369

00:25:37,010 --> 00:25:40,790

bit, a little more cheek bone.

370

00:25:47,600 --> 00:25:51,200

And even at this stage, you can

still change and still add more

371

00:25:51,200 --> 00:25:53,000

paint or subtract more paint.

372

00:25:54,510 --> 00:25:56,550

And you can do that all the way through.

373

00:26:00,360 --> 00:26:01,920

Are you still teaching classes, John?

374

00:26:03,690 --> 00:26:04,290

Occasionally.

375

00:26:04,290 --> 00:26:10,980

Bob, you don't teach as much as I

used to, but I still enjoy teaching

376

00:26:10,980 --> 00:26:14,450

the basic construction and they

had, well, we're getting close

377

00:26:14,450 --> 00:26:15,770

to being at the end of the show.

378

00:26:16,190 --> 00:26:18,465

I'd like to have him put up on

the screen a couple of times.

379

00:26:18,885 --> 00:26:21,044

A couple of little paintings

that you brought with you.

380

00:26:21,584 --> 00:26:24,735

There's one of me that you did, and

that was from a photograph and the

381

00:26:24,735 --> 00:26:28,635

way I looked several years back,

and this one you've went ahead

382

00:26:28,635 --> 00:26:30,794

and put all the colors in, right?

383

00:26:30,855 --> 00:26:37,475

Uh, this is a sketch of a lady done in

the same technique as this here's her.

384

00:26:37,834 --> 00:26:43,985

Here's a fellow that, uh, it looks like he

had a rough night and this is my favorite.

385

00:26:43,985 --> 00:26:46,324

This is a beautiful,

beautiful portrait here.

386

00:26:47,940 --> 00:26:49,050

I really liked this one.

387

00:26:49,590 --> 00:26:52,170

John, the old clock on the wall

tells us it's about time to,

388

00:26:52,500 --> 00:26:53,910

to shut it down for the day.

389

00:26:54,450 --> 00:26:56,910

I really, and truly enjoy you being here.

390

00:26:57,300 --> 00:27:00,420

I thank you very much for

sharing with my friends.

391

00:27:00,810 --> 00:27:02,220

A fantastic technique.

392

00:27:02,250 --> 00:27:03,630

I look forward to seeing you again.

393

00:27:04,305 --> 00:27:09,045

From John and I I'd like to wish all

of you happy painting and God bless.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S16E06 - Contemplative Lady

Bob Ross's

The Joy of Painting

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