Bob Ross's

The Joy of Painting

S16E10 - That Time Of Year

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Hi, welcome.

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Glad you could join me today.

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I have a special treat for you.

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You know, we've had a young artist on the

show in the past, and we've got literally

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hundreds of letters, just reigning

praise on his fantastic abilities.

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And I'm very prejudice because I'm

talking about my son, Steve, and

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I'm very proud of this young man.

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I've asked him to come back

today and show you what he can

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do in just a couple of minutes.

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Now, Steve travels all over

the country and he teaches

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literally thousands of people.

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The joy of painting.

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So tell you what, let's turn it over

to Steve and I'll see you later, Steve.

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Thanks Dan.

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Okay.

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We're going to do a simple painting

today and use a lot of pastel colors.

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Unlike other things we've done before.

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Um, we're going to start off with just

a little bit of Indian yellow on the

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two inch brush, and you want to tap

that pane in real evenly on the brush.

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Okay.

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And then we're going

to go up to the canvas.

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Just a little extra jokes and trying

to make it look like the sunlight is

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just sort of blending out into the sky.

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and maybe we'll just put in

a beginning water reflection

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down here at the same time.

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Now I'm going to go into a little bit

of a lizard and Crimson use less of

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this color because it's very powerful.

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And again, always remember to

tap that pain into your brush.

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Wow.

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And just a little bit of that up here.

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We're going to be putting

blue above this later.

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So if you have this alizarin Crimson in

here, it keeps the blue and the yellow

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from touching, and we all know what you

get when you mix blue and yellow together.

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Okay.

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If you sorta dab your brush out

a little bit, then go over to a

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little bit, uh, stay low blue.

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You can get that part in.

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Try to remember now that you're just

blocking in a shape and later you're

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going to come back and blend it all out.

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The colors that we're using today will

be ran across the bottom of the screen.

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if you need to get hairs out, that's

a good way to take them out and

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just use the edge of the brush.

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Okay.

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Now we'll do a little bit of

blending with a clean, dry brush.

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You want to make sure that the

definite lines between two colors

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disappear when you're doing this.

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And of course you always want to

keep in mind that if you go up

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into your blue and come down and

Deere yellow, that's a green sky.

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Okay.

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So I just slowly move up here.

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Trying not to go back in my yellow

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and we can clean that

brush out one more time

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and blend again, whenever

you're in doubt about what to

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do, clean the brush and start.

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New because a dirty brush or

really hurt you on the sky.

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Now, if you want to reflect these same

colors down in the water, you can start

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off with just a little bit of a lizard

on, on one side of the brush and a little

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bit of blue on the other, and you can

come down here and your water and just

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lay in some straight horizontal strokes.

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Always remember that

still water lies flat.

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Okay.

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And then wash your brush out.

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Yeah, the same thing in the water.

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You're trying to move the lightest

color out into the darker colors.

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So blend that yellow out and eventually

you have to go all the way across it.

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and now you might pick up a

little green in here, but water

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is green anyway, all the time.

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So you don't have to

worry about that too much.

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okay.

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Now I'm going to use my number six fan

and with some titanium white and maybe

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just a couple of drops of liquid white.

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we'll load the paint real evenly

in the brush and maybe just a dot

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of a lizard and Crimson and that,

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no, you have to remember when you're

working on your clouds, is that

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their light fluffy shapes on top, and

they're basically flat on the bottom.

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So as long as you get a lot of

little puffy things going in them,

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How about the top you're doing.

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Okay.

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Okay.

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So you get the basic shape in there

and you can come back in with your

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big brush, pulling out the bottom

of it, pull it up real lightly,

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and then go over the whole thing.

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Real lightly.

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well, it's very simple to

make it look like you have two

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clouds, one underneath the other.

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You can just put in that shape and

save a small dark area right here.

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That's very important.

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Dark to show light.

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So you always have to remember

the light is just as important.

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As the dark and the dark is just

as important as the light, without

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one, you can't have the other

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same steps on that one.

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And maybe there's one over

on the left-hand side.

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Put a little bit more alizarin

Crimson with this one.

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as you can see, I'm really not trying

too hard to make any definite shapes.

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If you've ever studied clouds real

carefully, there are no definite shapes.

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They're all just kind of out there.

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Okay.

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Now I'm going to use my one inch

brush and go into a new color.

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That'll be a lizard and Crimson.

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Fellow blue just to

touch and midnight black.

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And I'm loading these colors

on my brush to be sure I get

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a good variation of color.

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And then you just come over to your

white mix, a little white, and with that,

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and you come up with a

light lavender color.

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You might need to drop a paint thinner in

this to get it, to stick to the canvas.

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okay.

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Now we're going to go up here with the

one inch brush and just start tapping.

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try to make your shapes very full

instead of just leaving one line

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like this, you need to fill it in.

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I try to imagine what a Hill

looks like when I'm painting

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this part of the picture.

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Cause, um, it seems like if you

envision something in your mind,

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first, it always comes out better.

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Okay.

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Now just lifting the top.

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These are like distant pine trees.

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Okay.

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And then almost the same

thing you did on the clouds.

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Except for this time, you just use

a little bit of a lizard and Crimson

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and, and sort of just smash and twist

out the bottom of this field lizard

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on Crimson gives you some pinkish

glow at the bottom of your Hill.

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If you're ever interested in selling

paintings, pink is just one of those

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colors that really catches someone's eye.

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I do a lot of.

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Paintings of pink and, um, okay.

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So I smashed out the bottom and then I can

load my one inch, brush up some more and

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make one he'll come in front of the other.

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As he watched the painting getting

closer and closer to being finished.

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You'll notice that about

everything I do is the same steps.

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They're all very simple.

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You're either using the dark to

separate two entities or light.

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Here we're using missed light.

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Okay.

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So I smashed out the bottom of that one.

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It looks like you have one

hail in front of another.

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Now you might want to get some more of

your black and a lizard on your brush

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and dark enough that

color about one value.

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Okay.

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And maybe we'll make something

come in from over here,

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trying to make this one

look a little different.

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So much of the problems with a lot of

the first paintings I did was everything

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was just too organized or symmetrical.

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So you want to try to think very freely

and get your hand to move over the canvas.

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You know, like a true artist, you know,

you got to have that true artist thing.

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Can you lift these up

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and you want to make sure you live through

the whole Foothill too, because the

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scratches that the brush leaves in the

paint helps indicate little trees, too.

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Get a little bit more than a lizard and

Crimson on your brush as you're tapping.

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Keep that pink in there.

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Okay.

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Now I can go into just some more of

that lizard and black together, but

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this time I'm going to put a little

SAP green with it and leave it dark.

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This will be our base color

for the rest of the painting.

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So all our dark shapes

we'll be done with this.

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these are trees and

bushes in the background.

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You don't have to get too over detailed

on this because it is far away and

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it is going to be highlighted later.

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So.

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That'll change things a lot right now.

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You're just trying to get

that dark color in there.

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Now I'm using my knife to scrape

in a few little sticks, twigs.

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It's one of those things that

makes the buyer of your painting

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or the viewer think that you're

spending hours and hours on it.

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You can miss out the bottom

of that a little too.

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Okay.

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Now I'm going to dip my one inch brush

down in the little paint, thinner

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shake off the excess, and about what

you got left in the brush is good.

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So you're working with a paint

that's about cool web consistency.

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See, now I'm loading the brush very full.

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And I'm going to touch

very lightly up here.

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If you go into a little bit of fallow

blue, you get a nice light green color.

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The shapes are very important here.

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You're trying to make

your bushes look around.

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On top and the bottoms of them,

you don't need to worry about.

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Cause that'll all be covered up with land.

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So you can also make graphs by

using the side of the brush.

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You just push in

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long as you leave a dark space there,

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maybe a little bit of bright red with that

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make sort of an ochre color.

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Now, if you get to the point on your

brush where it's so muddy colored.

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That it won't show up.

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You can dip down into your jar,

liquid white, and use some of that

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to thin your paint and you come

up with a much brighter color.

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So you really don't have to

wash your brush through here.

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okay.

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Now, if you come in with your pallet

knife, a little bit of Vandyke Brown.

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What do you want to remember here?

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It's a smash, your paint out very flat,

and then put your knife straight down

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onto the pallet and pull towards yourself.

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And you end up with a small

height of paint or, Hmm.

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And then you're just going up to the

canvas and touching and pulling to

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the left real hard angle to the left.

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And don't worry about grabbing

some of that green that just cast

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that reflection onto your land.

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This is one of those things that looks a

lot better after you pull the reflection

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out of it and put grass on top of it.

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Say, we'll do that now.

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Two inch brush, and just pull

down a little bit of that Brown.

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And if you put a little bit of a.

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Another color on there.

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You can pull down some of that too.

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Okay.

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And then you just want to go

across that with a clean brush.

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You can reflect some of

these bushes into the water.

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Doesn't have to be really

distinct reflections.

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Like I said before, this is so far

away and go over those real lightly.

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And the same way you did your grasp

before you can tap in a little

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bit of grass on top of the land.

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Just trying to diffuse that line on top,

where the land and the bushes connect.

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Okay.

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Now with a little bit of a liquid white.

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On your palette knife, spread it

around on your palette and get

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just a little bit on your knife.

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Come up here and just like you're

trying to scratch a hole in the canvas,

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just a little water line, something to

separate the land from the water there.

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Okay.

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No over here on this side, I

think we'll have a Birch tree.

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The way you do that is you get a

roll on your palette knife, and

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you're going to come up here.

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Just connect lines together by touching.

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And the same thing over here.

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Try to put a little bend in your

tree to give it some character

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and you can turn the knife upside

down and feel on the other side.

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and you want to make sure your

trees are wider at the bottom.

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Of course you can always

straighten them up and we'd go

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in with the liner brush later.

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So you really don't have to worry

about this shape too much though.

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Okay.

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Now we can go over that with a

little bit of titanium white.

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Just spread that out in your pallet

and get a nice little roll in there.

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Very lightly go over that tree,

kind of pull in a C shape sort

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of around that gives the tree

a round effect instead of flat.

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Okay.

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Now, Dan, along the bottom here, I'm just

going to smash into a bunch of foliage.

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That's that same mother color for

all the bushes and background things.

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We use the same color.

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It's kind of a dark green.

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okay.

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And if you pick up your liner brush and

go through a little bit of Vandyke Brown,

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you want to thin this down quite well.

244

00:21:27,805 --> 00:21:29,525

About Indian ink consistency.

245

00:21:33,635 --> 00:21:35,015

spin the brush to the paint.

246

00:21:37,205 --> 00:21:37,415

Okay.

247

00:21:37,415 --> 00:21:39,095

Now you can extend your chops.

248

00:21:44,385 --> 00:21:45,675

And make some little branches.

249

00:21:57,995 --> 00:22:00,905

You don't want to waste a lot of

time on these branches because

250

00:22:00,905 --> 00:22:03,245

it seems like the faster you do

them, the better they come out.

251

00:22:14,690 --> 00:22:17,540

you're releasing your pressure as

you're coming out from the trunk.

252

00:22:28,310 --> 00:22:31,850

the reason I say you can throw these

branches in quickly is because you're

253

00:22:31,850 --> 00:22:36,800

going to cover them up with the next step,

which will be the foliage on the tree.

254

00:22:43,909 --> 00:22:45,709

there is a neat thing

about branches, though.

255

00:22:46,070 --> 00:22:48,770

If you have some you don't

like, all you have to do is

256

00:22:48,770 --> 00:22:50,120

just keep making more and more.

257

00:22:50,120 --> 00:22:51,379

And pretty soon they look better.

258

00:22:55,520 --> 00:22:56,030

Okay.

259

00:22:56,840 --> 00:22:58,699

Now, just like we did

the bushes at the bottom.

260

00:23:05,325 --> 00:23:08,534

Smashing in some little rounded shapes.

261

00:23:09,975 --> 00:23:12,044

When you get into this white

on the cloud right here, it's

262

00:23:12,044 --> 00:23:13,034

going to be a little rough.

263

00:23:13,034 --> 00:23:15,585

You might want to thin

your paint just to touch.

264

00:23:18,254 --> 00:23:20,475

It's hard to get any color

to stick on top of white.

265

00:23:27,425 --> 00:23:27,905

Okay.

266

00:23:29,254 --> 00:23:31,175

Notice I'm saving some big open areas.

267

00:23:31,950 --> 00:23:32,040

Okay.

268

00:23:35,900 --> 00:23:38,870

I believe dad calls those places

for the birds to build an ass.

269

00:23:40,040 --> 00:23:42,590

You don't want to close

up too many spaces here.

270

00:23:43,670 --> 00:23:47,390

Otherwise you get sort of a huge

Apple tree, like a big round ball.

271

00:23:50,510 --> 00:23:54,620

If you've ever attempted this before,

you know, it's easy to get sort of

272

00:23:54,670 --> 00:23:59,000

a large shape going accidentally.

273

00:24:00,090 --> 00:24:04,560

Okay, so a little bit of the dark, and

then we'll come back in and highlight

274

00:24:04,560 --> 00:24:08,160

that with the same color as we use to

highlight the land in the background.

275

00:24:14,960 --> 00:24:18,410

So first a little bit of green for our

bushes, and then we'll do our tree.

276

00:24:30,034 --> 00:24:33,395

So it's really not as much how you

do it as the shape that you make.

277

00:24:46,650 --> 00:24:49,520

And then you can switch your colors back

and forth, whatever you want to use.

278

00:24:51,350 --> 00:24:55,820

Uh, Indian, yellow, and liquids,

white, make a nice color.

279

00:24:56,720 --> 00:24:58,910

Matter of fact, that's what

we'll be using on our tree today.

280

00:25:00,090 --> 00:25:01,700

Indian yellow was liquid white,

281

00:25:07,160 --> 00:25:09,020

so a little bit of liquid white.

282

00:25:09,525 --> 00:25:12,375

In Indian yellow, let's put a

touch of bright red in there

283

00:25:12,525 --> 00:25:13,275

just for the heck of it.

284

00:25:29,945 --> 00:25:34,985

So you can go into your Indian, yellow,

and just touch your bright red a couple

285

00:25:34,985 --> 00:25:37,385

of times, and you get some neat little.

286

00:25:38,310 --> 00:25:43,770

Orange leaf shapes the way they're kind

of orange with little red dots on the end.

287

00:25:56,419 --> 00:25:58,699

Take you go through a little bit

of dirt down here in the bottom.

288

00:26:00,620 --> 00:26:01,730

It's just Vandyke Brown.

289

00:26:01,730 --> 00:26:03,470

The same way we made the

land in the background.

290

00:26:11,425 --> 00:26:12,945

And a little grass on top of that.

291

00:26:15,935 --> 00:26:17,345

I think this one's ready to sign.

292

00:26:19,895 --> 00:26:22,025

How does she use my liner

brush and some bright red.

293

00:26:40,580 --> 00:26:40,910

okay.

294

00:26:40,910 --> 00:26:42,680

Well, I think that one's

finished for today.

295

00:26:43,640 --> 00:26:47,390

I'd like to thank you dad for

letting me do the show today.

296

00:26:47,390 --> 00:26:48,975

And, um, Happy painting.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S16E10 - That Time Of Year

Bob Ross's

The Joy of Painting

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