Bob Ross's

The Joy of Painting

S17E09 - Lake View

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Hi, welcome back.

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Certainly glad you could join me today

because today I have a special treat

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for you every so often we have a young

man on the show that he's just done

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some fantastic paintings and we just get

hundreds of letters about this young man.

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In fact, I had a letter

from lady the other day.

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She says, why don't you

give him his own series?

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Because he explains things better.

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You do well, he's after my job.

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So today it's my.

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Pleasure.

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And I'm just proud as any father could

be to introduce my son, Steve, to you.

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And I'm going to turn Steve loose here.

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He's going to show you how

to do a fantastic painting

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in just a couple of minutes.

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So I'll tell you what, I'm

going to turn it over to Steve,

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and I'll see you later, Steve.

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Thanks Dan.

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Um, today we're going to do something

a little bit different and they're

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going to be, uh, running the color as

across the bottom of the screen for you.

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Uh, I'm going to leave the

top sort of like, um, open.

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Uh, vignette effect this time and let the

sky just missed out into the painting.

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So let's start out with a little

bit of fail-over blue and just

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tapping very little into my brush

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and just going to put sort of a

circular pattern of that up in here.

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I try to leave a couple of light

areas if you can, that helps add

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a little character to your sky.

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And maybe a little bit of

water at the same time.

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Okay.

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Now I'm just going to start blending

in my light area and trying to push

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that light right out into the dark.

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and you just want your edges

up at the top to sort of blend

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out into the rest of the panel.

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Now, if you start getting any streaks

or anything, you might need to wash

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your brush in between blending.

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Okay.

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now I'm going to start with

the fan brush and just load up

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a little bit of titanium white

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and we'll drop a little

cloud right in here.

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Just some little circular motions.

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Remember to try to keep

the top of the cloud.

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Nice.

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And.

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Fluffy and the bottom of it should be sort

of flat and maybe trying to lead the eye

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into the center of the painting, sort of

coming down like this and to the center.

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Okay.

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And don't be too particular on those

clowns because you want to make

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them just as quick as you can, or

they come out just a tiny bit too.

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Perfect.

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Sometimes too symmetrical.

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Now I'm just going in with a big brush

and blending out the bottom of the

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cloud, lifting up the top very gently.

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And you just go across

it as light as possible.

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That kind of sets it down into the pain.

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Now with that same dirty fan brush, I

can go into a little bit more titanium,

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white and some more thalo blue and

a little bit of midnight black.

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When you mix that together, you end

up with sort of a light blue color.

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That'll be for our background pine trees.

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And again, trying to lead the eye

into the center of the painting.

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So you're coming down

in sort of a V pattern.

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I try to establish the pattern

first and then go back and

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make the trees more detailed

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it, get smaller towards the center.

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And that does help a lot.

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Then you can go in and make some

little pointy tops like that, and just

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barely touch the brush with the corner

and make some pine tree indications.

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I remember these are real far off, so

you don't want to see too much detail

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work on that just a little later.

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It's kind of neat the way this painting

came about, because to be honest with

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you, I waited till about the last

day before I was going to be on TV.

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And, um, it was just sitting around

with a buddy of mine and decided,

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well, hell, I'm going to have

to come up with something here.

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And this is what I came up with kind

of a top vignette idea, but the bottom.

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Stays full, which I thought that

was kind of different kind of neat.

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Always trying to find new ideas.

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Speaking of new ideas, we had a

lot of people in our last seminar

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that we had out in new London,

Connecticut do a really good job.

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We're making all kinds of

certified instructors out there.

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So there'll be lots of people coming

around, teaching this technique.

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Okay.

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Okay, that would be an

F on the pine trees.

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Now let's go up with the two inch

brush and do a little bit of mist.

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Always use the tip of the brush.

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That way you get a nice variation of

minutes rather than one straight line.

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And we can load the fan brush with a

little bit more of that same color.

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Maybe you'd want to add

just a tiny bit more blue.

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A lot of this is up to you.

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You know, if I say you need to add

something and you don't feel that you

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need to, and you're paying, um, it's

your world, do anything you want?

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This is kind of just to give

you a guideline to go by.

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These are real easy Hills.

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We're just tapping them in, tap straight

down with the brush, and then you

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can just miss out the bottom of them.

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Maybe we'll do one more row of those.

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We're looking to get the lay of

the land kind of in a circular

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pattern around the bottom like this.

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So I'm trying to follow that line.

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now I can go back and pull a reflection

out of that with a big brush.

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Maybe add one of dark in that just

a little bit, a little bit more.

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Thalo blue.

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Reflections are so important in this

painting because it really doesn't have a

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whole lot in it, on this right-hand side.

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So that reflection is going

to be showing quite a bit.

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Okay.

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And me just go over that.

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Okay.

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Now I can drop a little.

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Shoreline in there just using a little

bit of liquid wine on the knife and kind

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of spread that around on your palate

a little bit and just cut across it.

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Now you just kind of saw on the

line in and make it come around the

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band, uh, drop lower on the left and

right-hand corners then in the middle.

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And trying to keep them

as straight as possible.

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Okay.

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So you ended up with something like this.

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Now we can go in with a dark

tree shape just using that same

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old, dirty, big brush, except for

we're going to mix up a new color.

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Now this'll be SAP green, midnight black,

and just to touch it that payload blue,

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quite a bit of midnight black in that.

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Okay.

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And then I'll take that dirty brush.

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That I just loaded that color on and

go over to a little bit of white and

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we ended up with a very dull green.

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Okay, I'm just going to start

tapping a dark shape in here.

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I don't really know exactly

what it's supposed to look like

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being that it's going to be

covered up later in the painting.

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So I just kind of tap in something, uh,

keep a pine tree idea in mind with some.

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Fatter shapes for branches.

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The only thing that you'll see on

this is these right-hand branches.

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Cause we're going to cover the rest

of it up with a big tree in front.

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Sorry.

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I just kinda throw it in.

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Okay.

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Now with my liner brush.

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If I go through a little

bit of this Vandyke Brown,

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I can lay in a few branches.

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This has to be very thin though.

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I'd say at least five or

six drops of paint, thinner,

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spin that brush to the paint.

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Okay.

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now, remember, don't get involved in

a lot of detail here, because this

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is all going to be in the background.

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And when you're using the liner

brush, sometimes the quicker you

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do it, the better it comes out.

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That's something.

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Um, I think a lot of my students

don't realize is sometimes the

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harder you try on something, the

worst that comes out, you have to

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sort of just relax and let it flow.

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and don't try to make every branch,

uh, you know, real prominent,

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just, just that a few of them

sort of stick out off the sides.

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Some of them don't even have to be

whole branches, just little hooks

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coming out, like little starters.

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Okay.

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now loading up a little bit more of

that same color under the big brush.

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We're going to try to sit in the lay

of the land here, down at the bottom.

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There'll be some bushes coming out

and going around here like this, and

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maybe there's another tree over here.

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Okay.

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Okay.

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A few sticks of scratching them

in with the tip of the knife.

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And now we're ready to start

on our big Poplar trees.

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Some people call these Birch trees.

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Some people call them pop or trees.

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Uh, they can be either kind of

depends on how big they get on you.

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Okay.

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And just loaded some Vandyke

Brown on my knife and just kinda

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throwing it right on there.

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I just sort of get an idea of the

shape and then go back and fill it in.

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you want to make sure that it's getting

progressively larger towards the bottom?

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Uh, you don't want a big

bump in there or anything.

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That's gonna make your tree look.

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Strange.

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Let's see, we'll put another

one right beside this one too.

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Maybe he has a little curve.

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Okay.

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They say trees are like people.

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And I believe that because every tree

has a certain curve or bend in it

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just like every person, you know, have

a curve and Ben and them, sometimes

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it just depends this one right here.

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We'll put it in just a little bit

heavier because we're going to need more

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white to pick up on the side of that.

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You get a brighter highlight

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and all of a sudden he's

a little bigger too.

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That's a nice thing about this.

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If you make something a little

bit too big, it's no problem.

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It's really very tough to make a

mistake in this style of painting.

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Okay.

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Uh, wipe the knife off and get a

little bit of titanium wine on there.

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This is where you do that.

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Very, very light touch.

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Just bringing the Wyatt right

across the front of the tree.

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Mostly just on this right hand side.

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and if you do it very light, kind of like

the snow on the mountains, uh, you'll

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end up with a paper effect on the tree.

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Almost looks like it grew up

and peel it off after it dries.

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This sells paintings real well.

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People really like it when the paint

sticks out off the canvas like that.

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but you don't want to go back over

those strokes very many times or he

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ended up flattening it out too much.

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Um, a little bit of fellow

blue and midnight black

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together for a shadow color.

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And I just mix that real quick.

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Leave it kind of marbled.

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And with a roll of that, you can come

in on the other side and just barely

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any of that, just a here and there type

bang on that left-hand side of the tree.

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Okay.

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Now we can start in with

some heavier branches.

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This time, I'll use a midnight black

for my branches instead of the Brown.

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That way we'll get a darker,

more close up effect.

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No, if you're not having good luck

on these branches, it might be

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because your paint's not thin enough.

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But remember, most of everything

we put in is going to be covered

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up later in the painting.

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So you really don't have to spend

a whole lot of time on this.

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sometimes the easiest way

to do a painting is quick.

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the first time I do want, I usually

take about an hour on it and then

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the second one, maybe a half hour.

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People have asked me a lot of

times when you're on TV painting.

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Um, don't you have to paint

very fast, very quick.

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And they answered that question is no.

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Um, sometimes I even have the

problem of getting a painting done

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too quick, if I'm not real careful.

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So I had to stand here

and flat my jaw a lot.

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Okay.

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Maybe just some small branches

down here on the bottom.

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Uh, Keep in mind that each branch is

going to have some foliage on top of it.

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So try to make them like a little

arm sticking out there with a hand on

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the end of it, holding up something.

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Um, I think about wise envies when

I'm doing these, because you really

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don't want to put three prongs on one

branch that are all sticking out, uh,

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together and don't look like a Pitchfork.

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If you have just one or

two of those, though.

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That wouldn't hurt anything.

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Okay.

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There's some darker branches

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and now maybe I'll come back with that

big brush and a really, really dark

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color, uh, midnight black and SAP green

with about 80%, uh, midnight black

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and just getting a heel on the brush.

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And they will tap in a little like this.

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Don't be scared of the big brush.

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It can be your best friend.

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You just have to work with it

and figure out how to manipulate

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it, to do the right thing.

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Did she use small portions in the brush

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and don't be afraid to cover up your

tree trunks a little bit, and a lot

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of paintings that I see on the road.

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00:19:06,140 --> 00:19:11,145

Um, The tree will be totally exposed,

but yet there's leaves everywhere.

246

00:19:11,745 --> 00:19:15,135

And what that does that makes your tree

look very flattened and dimensional.

247

00:19:16,005 --> 00:19:20,865

So you need to put at least a couple

leaves here and they're crossing over

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the actual bark of the tree helps push

it back and maybe a little down at

249

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the bottom that sorta just died there.

250

00:19:33,270 --> 00:19:36,780

At the same time you can

darken up your bushes,

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00:19:42,750 --> 00:19:46,409

you know, look pretty neat to

have a little pond right there.

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00:19:48,429 --> 00:19:53,010

Maybe I'll just pull a reflection

and put a water line under

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00:19:53,010 --> 00:19:54,120

that and see what happens.

254

00:19:55,350 --> 00:19:56,850

Same thing as you did up above.

255

00:19:58,830 --> 00:20:00,120

Just offset it a little bit.

256

00:20:08,735 --> 00:20:09,155

okay.

257

00:20:10,715 --> 00:20:12,155

And how about a little

bit of highlighting?

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00:20:13,085 --> 00:20:17,105

Just dipping my brush into the paint

center, shaking off the excess,

259

00:20:18,335 --> 00:20:21,695

and then we'll go right through

a little bit of cadmium yellow

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00:20:22,685 --> 00:20:24,125

and a little bit of bright red.

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00:20:24,965 --> 00:20:25,955

See what we end up with.

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00:20:27,675 --> 00:20:34,125

I kind of just a guess on a lot

of my colors, uh, just figuring

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00:20:34,125 --> 00:20:35,565

out what season it's going to be.

264

00:20:35,565 --> 00:20:38,445

And then think about what I see

in that season and try to get

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something that looks like it.

266

00:20:39,855 --> 00:20:43,065

I don't really think about the names

of the colors or anything like that.

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The best way to do it is just by seeing it

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00:20:58,064 --> 00:20:59,344

No, I'm loading the brush.

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00:20:59,375 --> 00:21:03,425

Very, very full of paint, but yet I'm

not touching the canvas very hard.

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00:21:03,995 --> 00:21:06,304

So those shadows remain underneath.

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00:21:06,334 --> 00:21:13,054

I'm not destroying all my dark and

here we go across the tree trunk.

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00:21:13,385 --> 00:21:14,105

See that really help.

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00:21:19,935 --> 00:21:23,445

I think a lot of the times, the

way I figure out new ideas and this

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00:21:23,445 --> 00:21:28,275

style of painting is just by, um,

getting in one of those moods where,

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you know, maybe I don't really feel

like painting and making a mistake.

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00:21:31,605 --> 00:21:33,945

And then, you know, you

learn something from that.

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And when you get in the painting mood and

come back and do it, then a lot of times

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00:21:39,885 --> 00:21:41,265

it turns out a hundred percent better.

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You just have to stick with

anything to get it right.

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I'm going to leave some of

my bushes back in their dark.

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Maybe I'll do a little color change.

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00:21:55,755 --> 00:21:57,705

We'll go for a fireball right here.

283

00:22:04,965 --> 00:22:06,735

And how about some green?

284

00:22:06,735 --> 00:22:07,815

We haven't done green yet.

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00:22:08,265 --> 00:22:10,335

A little bit of fellow

blue with your kid yellow.

286

00:22:14,900 --> 00:22:18,560

Now, um, if your brush starts getting

too dirty and you're picking up too much

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00:22:18,590 --> 00:22:23,750

dark paint, your paint probably is not

thin enough on your highlight color.

288

00:22:24,290 --> 00:22:24,350

Yeah.

289

00:22:30,830 --> 00:22:32,270

So you got to watch out for that.

290

00:22:32,360 --> 00:22:33,860

The consistency of the pain is.

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About most importance here.

292

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Okay.

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00:22:38,805 --> 00:22:43,185

Now maybe we'll go into a little

bit of liquid white with that same

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00:22:43,185 --> 00:22:45,764

color and you get a nice light green.

295

00:22:54,375 --> 00:22:59,295

It's just possible that this tree over

here might be showing some limbs too.

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00:22:59,895 --> 00:23:01,095

On this right-hand side.

297

00:23:01,784 --> 00:23:03,405

Maybe it comes right

up out of the picture.

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00:23:21,210 --> 00:23:21,840

Okay.

299

00:23:23,970 --> 00:23:25,380

A little bit of highlight on this one.

300

00:23:38,240 --> 00:23:43,399

And Dan here, maybe I'll just

fill in some more of this.

301

00:23:49,770 --> 00:23:51,120

That same dark color.

302

00:23:55,350 --> 00:23:56,400

This is my favorite part.

303

00:23:57,930 --> 00:23:59,250

Just filling it already in

304

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gives you a chance to get

some of your frustrations out

305

00:24:05,810 --> 00:24:06,950

from earlier in the painting.

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00:24:07,520 --> 00:24:10,640

If you didn't like something you did,

you always want to see parts that you

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00:24:10,640 --> 00:24:13,010

liked, but at the same time, there's

going to be things you don't like.

308

00:24:13,695 --> 00:24:13,815

Okay,

309

00:24:18,635 --> 00:24:22,625

take a little bit of Vandyke Brown

and just with a roll on the knife,

310

00:24:22,625 --> 00:24:30,065

throw a path in real simple path idea,

just side to side all the way down.

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00:24:35,915 --> 00:24:36,365

Okay.

312

00:24:37,835 --> 00:24:40,085

And then you can come

back with a little bit of.

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00:24:40,710 --> 00:24:47,040

Dark Sienna and Vandyke Brown and

white, get a roll on the knife and

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00:24:47,040 --> 00:24:48,690

go right over the top of that path.

315

00:24:49,710 --> 00:24:53,639

Just kind of caress over

the thick pieces of Brown.

316

00:24:53,639 --> 00:24:57,240

And you'll end up with a

highlight that breaks like rock

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00:24:57,240 --> 00:24:58,710

formations and stuff like that.

318

00:25:00,840 --> 00:25:01,110

Okay.

319

00:25:01,110 --> 00:25:02,790

And then back into a

little bit of our yellow

320

00:25:06,530 --> 00:25:08,030

and some more bushes.

321

00:25:09,080 --> 00:25:09,139

Yeah.

322

00:25:11,805 --> 00:25:12,675

Maybe another red one.

323

00:25:13,245 --> 00:25:13,965

I like red.

324

00:25:14,205 --> 00:25:15,435

I'm a red fan.

325

00:25:18,165 --> 00:25:20,625

A lot of the students in class

asked me how come you put red

326

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in your paintings like that?

327

00:25:21,645 --> 00:25:23,245

You don't see too much red in nature.

328

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I tell him I just like it.

329

00:25:29,435 --> 00:25:30,875

And you can always go back to that.

330

00:25:30,875 --> 00:25:32,165

Uh, it's my world.

331

00:25:32,165 --> 00:25:32,675

Excuse.

332

00:25:35,955 --> 00:25:39,165

That's what I tell my dad, my

dad walked in one day and he sat

333

00:25:39,165 --> 00:25:41,504

down, sat in your room is a mess.

334

00:25:41,504 --> 00:25:42,885

It looks like a bomb hit in here.

335

00:25:43,215 --> 00:25:44,115

I said, it's my world.

336

00:25:46,715 --> 00:25:47,825

He didn't like it too much.

337

00:25:49,185 --> 00:25:49,305

Okay.

338

00:25:59,585 --> 00:26:01,415

A little bit of yellow

ochre, an Indian yellow.

339

00:26:01,415 --> 00:26:03,785

As I start to get down here

towards the left-hand corner,

340

00:26:13,655 --> 00:26:15,545

there can be a little bit

of dirt down here, too.

341

00:26:19,070 --> 00:26:20,930

I like to keep my corners nice and dark.

342

00:26:37,260 --> 00:26:43,680

Now, wherever you see an area where

it just sort of ends to capture

343

00:26:43,680 --> 00:26:46,500

that effect even better, you

can just miss it out a tiny bit.

344

00:26:47,670 --> 00:26:48,060

Okay.

345

00:26:48,060 --> 00:26:49,980

I think that's a completed painting.

346

00:26:50,550 --> 00:26:53,280

So I'll take my liner brush

through a little bit of bright red

347

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and put a signature on this one.

348

00:27:04,580 --> 00:27:06,860

And we'll call that one down.

349

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Thanks for joining us today.

350

00:27:08,780 --> 00:27:10,760

I hope we can paint again

some time happy painting.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S17E09 - Lake View

Bob Ross's

The Joy of Painting

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