Bob Ross's

The Joy of Painting

S17E13 - Mountain Beauty

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Hi, welcome back.

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Certainly glad you could join me

because today is a very special day.

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This is the last show of the 17th series.

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And I thought today we would

devote this entire show to a

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question and answer period.

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And for that I've asked a very special

friend to come in and help me today.

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I'd like to introduce you to Dana jester.

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And Dana is one of our

national certified instructors.

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He travels all over the country and he

teaches literally thousands of people.

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The joy of painting.

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Dana, welcome to us.

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Thanks a lot, Bob.

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What I've done here, Dana is

I've taken just some of the

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basic questions that we get in.

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We get a lot of letters from

people all over the country, and

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I've just sort of taken the basic

problems that people are having.

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And if you'll give me a little hand here,

I'm going to just sorta ask you these

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things and then see if between the two

of us, we can answer these questions.

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Sure.

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Dana teaches people every day and.

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Maybe since I don't teach as much as

I used to anymore, maybe I forgotten

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to explain some of these things

and Dana can help us a little.

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So the end of the first question,

and I know this is a problem because

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I do it off camera in order to save

time and that's supplying the liquid.

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Why this question goes, how do

I apply the liquid white and

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how much liquid white do I use?

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How do I know when I have enough

on the canvas or too much?

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And, uh, tell you what, if you

would just show us basically how

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you put the liquid white on it.

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Alrighty.

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When we can handle that, now, what

I used to do is just dip your brush

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in there and get a small amount.

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You're going to work it into the canvas.

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And after you cover the entire

canvas, I cheated a little bit today.

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I had all this area covered except

for just a small portion here.

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And I'll tell you what, you can give it.

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The old fingerprint test

after you coat the canvas.

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What I would do is just go

up here, touch the canvas.

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And if you can still see your

fingerprints, you're in good shape.

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Okay.

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So what's your, what you're looking for.

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It's just a nice even distribution

all over the end of the finger.

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All right.

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Let me ask you this then, because I'm

asked this over and over, what would you

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do if you have too much liquid white on

the canvas and that happens frequently.

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Well, if you have, in that case,

what I do is, you know, claim a

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brush, dry, real good, go back and

forth on entire canvas lifting.

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And it'll help remove a lot of this

liquid white that you have on there.

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You can kind of rub that in and

give it the finger print test.

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And if that does not work, then

while you can go back and you

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can do this at any time here.

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Very good.

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All right, let me go to the next one here.

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Uh, This is a question

from a lady in Virginia.

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She says she's having problems with her.

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Clouds are clouds are not coming

out and looking very fluffy wants to

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know basically what our problem is.

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So I tell you, what would you just

throw us in a, a little blue background

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up there, maybe share and, um, let's

let's do, let's do a couple of.

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It's a little clouds here.

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What are you using?

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Just a little pressure and

blue today, Prussian blue.

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And I'll tell you what, if you don't have

dark, it's kinda tough to show lines.

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So I always start out a little darker

up here at the top of your sky.

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You can always.

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Work this on down and let it gradually

lighten up into the liquid white there.

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Why don't you just put us middle sky in

there and we'll show everyone exactly

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how to do a happy little cloud today.

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And it's fantastic that people

take the time to write us.

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We get, we get literally hundreds

of letters every week, and we

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have a staff of people that try

to answer each and every letter.

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So, if you do have questions,

please feel free to drop us a line.

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We'd be glad to answer them if we can.

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So, okay.

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How do we come in there?

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I think we're just about

ready to drop in a clown.

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You know, one of my sneak in just a

little bit of water down here, right?

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Why don't you, since I have blue on

the brush already, you never can tell.

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We may not even have water yet.

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It's just something nice to throw.

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It's also a good way to clean

the blue paint out of your brush.

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That's for sure.

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All right.

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All right, Dana, would you make

clouds maybe today with that?

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Let's do one little

cloud with a fan brush.

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See, and then show us one

with the one inch brush.

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How's that?

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Alrighty.

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And, uh, cleaned out.

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I've been waiting for

years to do this, Bob.

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All right, here we go.

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The camera people are overjoyed because

at long, last Bob has got off splatters.

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Uh, what we're going to

do here is just pick up.

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I'm just using.

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Titanium white here.

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All right.

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Load the brush up pretty heavy.

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Both sides work in your dark areas

and kind of press up and push.

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Keep the brush moving, spin it.

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Okay.

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But the big thing here is notice

the little circular patterns.

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That's what gives you

the little fluffy edges.

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They didn't do one for me right up

here where you just stay in one spot.

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Let me keep grinding.

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You know, you're wanting me

to make some mud aren't you.

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That's exactly what I want you to see.

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Okay.

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Because this is one of the biggest

problems that we see over and over.

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People will stay in one spot and

keep making these little circles.

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And what happens is you end up, it looks

like big cotton balls hanging in the sky.

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Now, if this should happen to you, all

you need to do is take your knife and do a

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cloud ectomy, just zip it red off, and put

a little blue back on and go right back.

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As you know, we don't make mistakes.

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We, we only have happy accidents.

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So let's see how Dana is doing here.

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Okay.

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That's that's the old fan brush treatment.

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And I will try for one inch brush here.

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Okay.

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Now this is just the basic shape.

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You're going to come back and fluff.

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Yeah.

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Yeah.

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Well, we'll work on those now when

you're loading them, the one is pressure.

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You can almost basically

load it like you do.

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When you're loading for a Bush,

it takes quite a bit of pain.

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And I noticed you're pulling in

one direction and then you have

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about that much paint on the brush.

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It's quite a bit of pain.

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Okay.

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And then you can work this brush

in circles again, just like when

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you're using, uh, you know, your

fan brush, you're doing basically

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the same thing, same thing, brush

on the big brush or warning.

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Good.

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Probably if you want to make big

clouds and make them very fast reload.

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Oh yeah.

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Okay.

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it's also worth mentioning that

Dana, along with my son, Steve

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travel all over the country and

they teach literally hundreds and

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hundreds of people, how to instruct

in this fantastic method of painting.

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So as they say, Dana's

in the field every day.

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So if anyone can help us with corrections,

I'm sure that he's the man that can do it.

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So let's check him out.

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All right, Dana, what

are you going to do now?

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Okay.

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I'm going to use this, the

top portion of this brush.

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And work just with a corner of it and

blend and softness down into the canvas.

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Okay.

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Notice that he's not touching

the top of the clouds.

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He's only blending the base of the

clouds you want the, you want the top

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of those clouds to remain nice and firm.

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And he does the same thing on the ones

that he did with a, with a fan brush.

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Then I'll beat the excess

pain out and lightly.

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You can fluff them up or like

go across it here either way.

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Yeah.

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Just set them down in the canvas

a little bit, but it is three

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hairs and Samira, just like you

say, it's a very gentle touch.

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Okay.

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Very good.

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And that's, that's one of the nicest,

easiest, simplest, little ways

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of making very effective clouds.

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Does that tell you what?

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Here's the next question?

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Uh, Basically here.

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Why do you scrape the base code of

the mountains off after you carefully?

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We're going to send, we're going to

send this person to penmanship book or

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carefully placed it on, on the canvas.

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I believe it is.

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We do some mountains, man.

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Well, I think what they're asking

here is, uh, you know, we put the

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base shape of the mountain and then

we scrape off the excess paint, maybe.

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W maybe you would show that, Alrighty,

I'm going to take, um, Vandyke

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Brown, Prussian blue, midnight black.

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And if you wanted to, just to see

what value you had, you could put

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in a little titanium white, but if

it's your very first round, I would

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stay with a railroad dark color.

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Keep it very dark now

and wipe off a knife.

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And when you load the knife,

Loading the knife is very important.

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Yes.

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You can go into the paint like this and

pick up a roll on the knife like that.

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I don't know if you can

see that little roll there.

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Yeah.

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Okay.

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Why don't you just lay us in a

very basic little mountain shape

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and let's just play with it.

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Cause I know there's another question

coming up here about the mountains.

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I noticed that you're pushing

very, very hard and you need to

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really remove the excess paint.

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So you work at pigment of the

pain, into the grain of the canvas.

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Really?

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So then what you're saying is you

scraped this to remove the excess paint.

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That's basically the reason, right?

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And that nice dark color will

help us in the long run, make

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your lights really pop out.

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It also makes application of

the, of the highlight color.

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Much easier if you don't have a lot

of, uh, paint up here on this mountain,

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the more of that that you take off,

the easier the next step will become.

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They know once you blend

that out, there you go.

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That's let's see here.

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Cause I think the next question,

if I remember correctly, how do I

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get snow to break on my mountain?

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I have difficulty making this work.

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Mine looks like icing on a cake.

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Well, Okay.

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I think this is probably one of the

most common problems that people have.

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We hear this just about, more than any

other question that I can think of.

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And just from reading the question,

I can tell you normally the

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problem is one of two things.

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First off, the biggest problem is people

try using a paint that's too thin.

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If you use a very thin paint.

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It's it's very, very difficult to make

this paint break and by break, we mean,

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it has all the little holes in it.

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So you need a very firm dry paint.

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I can't tell you how important that is.

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The second thing is that people

put too much pressure on the knife.

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Let me hold a knife.

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Just a second.

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If I might Dana, we can

hold it right up here.

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If we can get a closeup

right in here of this knife.

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I'll hold it right up.

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One of the big problems is that people

put their finger on this blade when

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they're working with it, they've taken the

stick at finger on there, and the finger

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applies a tremendous amount of pressure.

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I would suggest holding the knife with

just thumb and forefinger, just very

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loose and just sort of let it, just

let it flop around in your finger.

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These fingers lay on the handle

and all they do is drive.

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They just sort of guide the knife.

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They move it from.

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One direction to the other, but avoid

putting your finger up here on this blade.

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It will cause you, it caused you a lot

of agony and he'll be upset with me.

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So I'll give you a knife back there.

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Alrighty.

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Okay.

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Why don't you show us how to

put some snow on the back?

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Okay.

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A little roll on knife.

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And if you're having trouble,

you're maybe leaving a blob

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of paint up there at the top.

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Raise the handle up a little bit

more and then take off with it.

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Working with the edge of

the knife a little bit more.

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I think it might help you to get started.

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Okay.

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Absolutely no pressure,

no pressure whatsoever.

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This is just the weight of the knife.

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00:11:15,990 --> 00:11:19,470

It's sort of in a way, think about

maybe that the knife is really

246

00:11:19,470 --> 00:11:20,699

not even touching the canvas.

247

00:11:20,699 --> 00:11:23,760

The only thing is touching is that little

roll of paint that you've loaded on there.

248

00:11:24,300 --> 00:11:28,650

And it's turning, it's rotating underneath

the blade and that's what creates this

249

00:11:28,650 --> 00:11:31,920

breaking and this breaking right in here.

250

00:11:32,310 --> 00:11:35,880

That's that's what gives it that

beautiful, beautiful appearance.

251

00:11:36,375 --> 00:11:39,735

To do this with a little brush would

take you weeks and Dana can do it here

252

00:11:39,735 --> 00:11:41,145

in just a matter of a minute or two.

253

00:11:42,695 --> 00:11:43,445

Very nice.

254

00:11:45,365 --> 00:11:47,795

The other, the other thing

that we run into continually

255

00:11:47,795 --> 00:11:49,745

is people would have problems.

256

00:11:50,525 --> 00:11:54,635

Well, there was shadows when they put

them on, uh, you will find if you're,

257

00:11:54,845 --> 00:11:57,935

if you're right handed, for example,

you will find that it's much easier

258

00:11:57,935 --> 00:11:59,465

to highlight things on the right.

259

00:12:00,035 --> 00:12:03,365

And then when you go to work on the

left, you'll run into some difficulties.

260

00:12:03,935 --> 00:12:04,025

Okay.

261

00:12:04,545 --> 00:12:05,775

But give it a little practice.

262

00:12:05,775 --> 00:12:09,285

Some people find it as easier

at times to put the shadow on

263

00:12:09,285 --> 00:12:10,785

first and then put the highlight.

264

00:12:11,505 --> 00:12:14,025

And there are basically no

rules here, if it works for you.

265

00:12:14,025 --> 00:12:14,685

It's right.

266

00:12:14,745 --> 00:12:15,315

And it's good.

267

00:12:15,825 --> 00:12:18,345

And that's really all we're trying

to do is to get you to try it.

268

00:12:18,825 --> 00:12:22,695

The big thing though, is no pressure,

no matter which way you start with

269

00:12:22,695 --> 00:12:25,815

a shadow first and then highlights

or highlights than in shadows.

270

00:12:26,130 --> 00:12:27,030

It makes no difference.

271

00:12:27,449 --> 00:12:29,040

The big thing is, is no pressure.

272

00:12:29,490 --> 00:12:30,240

Let it float.

273

00:12:30,300 --> 00:12:33,150

Pretend it's a feather just

floating right across there.

274

00:12:33,150 --> 00:12:34,949

The most gentle thing

that you can think of.

275

00:12:35,490 --> 00:12:37,290

Very, very light, very light.

276

00:12:37,890 --> 00:12:38,040

Okay.

277

00:12:38,040 --> 00:12:39,750

Damon's going to put some

shadows in here for you.

278

00:12:40,130 --> 00:12:42,590

It's really important

to follow your angles.

279

00:12:42,620 --> 00:12:47,780

If you put this knife down, up here

at the top and just pull straight

280

00:12:47,780 --> 00:12:50,120

down, you're going to lose the

contour, the shape, your mountain.

281

00:12:50,120 --> 00:12:50,390

So, yeah.

282

00:12:51,105 --> 00:12:55,155

You need to remember to follow the

angles I'm using a Prussian blue and a

283

00:12:55,155 --> 00:12:56,805

little bit of white for a shadow color.

284

00:12:57,725 --> 00:12:57,905

Okay.

285

00:12:57,905 --> 00:13:01,055

Another thing that I would suggest

is if you're just starting with this,

286

00:13:01,625 --> 00:13:05,885

uh, when you make your mountain shape,

don't make a mountain shape that has

287

00:13:05,885 --> 00:13:08,465

25 or 30 little tiny peaks on it.

288

00:13:09,215 --> 00:13:12,185

Have just a couple of major

peaks and learn how to do those.

289

00:13:12,780 --> 00:13:16,770

And then with practice, and that is the

secret to this technique or any other

290

00:13:16,770 --> 00:13:19,319

technique is practice with practice.

291

00:13:19,439 --> 00:13:23,010

Then you will learn and you can put all

those individual little peaks, but when

292

00:13:23,010 --> 00:13:28,709

you first start do very basic little

simple mountains and learned how it

293

00:13:28,709 --> 00:13:30,599

works, learn the feel of the paint.

294

00:13:31,230 --> 00:13:33,660

And very quickly, you will

know if it's breaking.

295

00:13:33,974 --> 00:13:39,495

Or if you're like, this lady says here, if

you're icing a cake, so, and then you need

296

00:13:39,495 --> 00:13:41,505

to create the illusion of missed out here.

297

00:13:41,734 --> 00:13:42,005

Yeah.

298

00:13:42,005 --> 00:13:46,564

Now you can take and lightly tap

this and pull down at the same time.

299

00:13:47,344 --> 00:13:49,984

But the main thing is not

to start in the same place.

300

00:13:49,984 --> 00:13:53,734

When you're going across here, you need

to kind of have a little variation.

301

00:13:53,734 --> 00:13:58,415

You don't want to look like you've

planned out everything and it's

302

00:13:58,474 --> 00:14:00,545

important to follow the direction again.

303

00:14:01,319 --> 00:14:04,170

And after you get through that, you can

always miss it right on into the canvas

304

00:14:04,170 --> 00:14:08,339

and work it into the liquid white, that

liquid white really that'll help you out.

305

00:14:09,000 --> 00:14:11,600

And it looks like you just sort of

floating up there in the midst now.

306

00:14:12,770 --> 00:14:14,760

All right, let's go onto

the next question here.

307

00:14:15,020 --> 00:14:15,640

You've built.

308

00:14:15,650 --> 00:14:16,880

It's a pretty nice mountain, Dana.

309

00:14:20,600 --> 00:14:23,870

Um, why do you always play so

much emphasis on having missed

310

00:14:23,870 --> 00:14:25,730

between each layer foothills?

311

00:14:28,545 --> 00:14:31,365

If you've watched the show, you know,

that I'm continually saying that mist

312

00:14:31,365 --> 00:14:35,205

is these little Misty areas between

any layer of things that you have

313

00:14:35,205 --> 00:14:39,045

in here can absolutely be your best

friend that you should treat it like

314

00:14:39,045 --> 00:14:40,485

a friend and be careful with it.

315

00:14:41,204 --> 00:14:43,844

And that mist is your separator.

316

00:14:43,935 --> 00:14:49,094

It shows, uh, a space in between

foothills or just different layers

317

00:14:49,094 --> 00:14:50,625

or different planes in your painting.

318

00:14:51,255 --> 00:14:54,525

And that will really play great

dividends in your painting.

319

00:14:54,525 --> 00:14:56,564

It gives it depth, gives it distance.

320

00:14:56,564 --> 00:15:00,525

It's not just a flat old painting and

it'll make you happier with your work.

321

00:15:00,645 --> 00:15:03,224

Let's see if I can get Dana maybe

to demonstrate some here for us.

322

00:15:03,765 --> 00:15:04,095

Okay.

323

00:15:04,095 --> 00:15:07,335

I, I just, uh, took the base code

that I was using on a mountain.

324

00:15:07,335 --> 00:15:09,225

And then I added a little SAP green to it.

325

00:15:09,255 --> 00:15:11,085

And why you want to load your brush?

326

00:15:11,115 --> 00:15:12,555

It's pretty important with this.

327

00:15:12,885 --> 00:15:16,485

You can tap your brush into the paint

like that and pick it up a roll on

328

00:15:16,485 --> 00:15:19,875

the tip of the brush and then go

up there and make your Foothill.

329

00:15:21,105 --> 00:15:22,905

Now do you always have to

use the two inch brush?

330

00:15:23,085 --> 00:15:25,635

Oh, no, not always, but

this works out pretty handy.

331

00:15:25,694 --> 00:15:30,074

It covers a lot of area in quick,

but you could do it with a one inch

332

00:15:30,074 --> 00:15:33,375

brush and brush your hand brush

or whatever, or your old shoe.

333

00:15:33,435 --> 00:15:34,035

It don't better.

334

00:15:34,455 --> 00:15:38,835

Now the mist in between the foothills

that you were asking me about, I'll

335

00:15:38,835 --> 00:15:40,305

just put that on there like that.

336

00:15:40,335 --> 00:15:41,444

And then come back up here with a.

337

00:15:42,135 --> 00:15:43,485

Uh, clean one inch brush.

338

00:15:43,485 --> 00:15:47,115

You could use a two inch and just tap this

like this and let this blend into your

339

00:15:47,115 --> 00:15:50,475

liquid white that'll really help us one.

340

00:15:50,745 --> 00:15:53,675

When we lay on another Foothill in it,

no probably would happen if you were

341

00:15:53,675 --> 00:15:56,585

working on a drag canvas and tried

that without the liquid light on it.

342

00:15:57,060 --> 00:16:01,320

Oh, that'd be agony city,

as you would say exactly.

343

00:16:01,590 --> 00:16:03,240

Now I'm going to load a

little more pain in here.

344

00:16:03,240 --> 00:16:06,450

Now you could put one in coming from

the other side, or you can just add

345

00:16:06,870 --> 00:16:08,610

another one right here, below this.

346

00:16:09,300 --> 00:16:11,340

This is the same identical, same color.

347

00:16:11,400 --> 00:16:14,040

It just looks like we've

darkened it, but we haven't.

348

00:16:14,810 --> 00:16:17,810

It's only that little bit of

mist in between that creates

349

00:16:17,810 --> 00:16:19,220

that beautiful separation.

350

00:16:19,520 --> 00:16:22,700

This one today, my name name's sneak

all the way over, off the side here.

351

00:16:22,700 --> 00:16:23,270

You never know.

352

00:16:27,570 --> 00:16:28,380

Something like that.

353

00:16:28,380 --> 00:16:31,710

And then take your one inch again.

354

00:16:31,710 --> 00:16:35,070

Or like I said, two inch

and missed this on in,

355

00:16:41,370 --> 00:16:42,840

and we'll let that set back.

356

00:16:42,840 --> 00:16:47,520

And the pain is by creating a lot more

from us there at the base that Foothill.

357

00:16:48,224 --> 00:16:51,165

But this is continually mixing

with the liquid white and creates

358

00:16:51,165 --> 00:16:52,844

these effects almost automatically.

359

00:16:52,844 --> 00:16:53,415

What are you doing now?

360

00:16:53,555 --> 00:16:57,785

Maybe I put a few distance trees

back there, a little evergreens

361

00:16:57,785 --> 00:17:01,594

or whatever on top of that Hill

is getting up and just lifting

362

00:17:01,594 --> 00:17:03,995

upward, just vertical brush stroke.

363

00:17:04,994 --> 00:17:07,784

That it looks like he's making very

long strokes, but he's only allowing

364

00:17:07,784 --> 00:17:09,165

the breath to touch the canvas.

365

00:17:09,704 --> 00:17:10,544

Very short.

366

00:17:10,595 --> 00:17:13,534

You don't want these to get too tall

because very rapidly they can get

367

00:17:13,984 --> 00:17:15,454

so tall that they don't look right.

368

00:17:15,494 --> 00:17:18,714

Maybe quarter van strokes is really

all that he's touching and just.

369

00:17:19,245 --> 00:17:22,785

Just giving it a little lift and that's

all you need to do and work in layers.

370

00:17:23,265 --> 00:17:26,325

Don't try to start at the bottom of a

Foothill and do it all work in little

371

00:17:26,325 --> 00:17:28,455

tiny layers, and it'll create that depth.

372

00:17:28,485 --> 00:17:29,805

Even in each individual.

373

00:17:29,805 --> 00:17:32,475

Foothill can, let me

read the next one here.

374

00:17:32,475 --> 00:17:37,275

Damon, uh, gentlemen, here in

Colorado, he says I'm still

375

00:17:37,275 --> 00:17:38,835

having trouble with waterlines.

376

00:17:39,240 --> 00:17:43,860

Which side of the knife are you

loading that does create problems

377

00:17:43,860 --> 00:17:46,650

for a lot of people around once you

put a little something in there.

378

00:17:46,650 --> 00:17:48,540

So we can have us a little

water line, just dropped in

379

00:17:48,540 --> 00:17:50,610

a little, do little things.

380

00:17:51,770 --> 00:17:52,310

Okay.

381

00:17:52,790 --> 00:17:53,690

Let's go ahead and get it.

382

00:17:53,690 --> 00:17:55,040

Some land right in here.

383

00:17:55,340 --> 00:17:57,110

A little closer than maybe middle ground.

384

00:17:57,110 --> 00:18:00,560

I'm just using the same color I had

there in the background, but applying

385

00:18:00,560 --> 00:18:02,080

a little more paint, you know,

386

00:18:05,129 --> 00:18:07,800

Help us out there with the land,

387

00:18:13,970 --> 00:18:17,210

even here, he still has that Misty area

in there to create that separation.

388

00:18:18,169 --> 00:18:19,850

That's so very, very important.

389

00:18:23,310 --> 00:18:23,780

Okay.

390

00:18:23,780 --> 00:18:25,190

I'm thinking I'm in trouble again.

391

00:18:25,190 --> 00:18:25,610

Here you go.

392

00:18:25,610 --> 00:18:26,720

Real easy, really to hear.

393

00:18:28,740 --> 00:18:32,520

Oh, I'll get, even with you one of these

days, now we can pull down a little bit

394

00:18:32,550 --> 00:18:37,950

for reflections here and then come back in

here and get that fellow's waterline in.

395

00:18:38,400 --> 00:18:40,410

I'm just going to use the card.

396

00:18:40,410 --> 00:18:46,170

I've put on the canvas with a claim

brush and pull straight down and then

397

00:18:46,200 --> 00:18:48,810

go across to real lightly horizontal.

398

00:18:50,010 --> 00:18:53,280

And, uh, like I say,

put it in a water line.

399

00:18:53,640 --> 00:18:57,000

You can take the liquid white,

maybe just add a touch of.

400

00:18:57,930 --> 00:18:59,610

Vandyke Brown, dark Sienna,

401

00:19:02,820 --> 00:19:06,480

but this pain is very thin, very, very

thin the paint that we have on the canvas.

402

00:19:07,080 --> 00:19:11,220

And then I'm just going to go

through the paint, just like this.

403

00:19:11,220 --> 00:19:12,780

Pick up a fine roll one, a knife.

404

00:19:13,610 --> 00:19:13,820

Okay.

405

00:19:13,940 --> 00:19:16,550

Don't you hold that knife up in front of

the camera and let them see real close.

406

00:19:16,550 --> 00:19:17,330

What you're doing there.

407

00:19:17,510 --> 00:19:21,770

Can we do that because a lot of

people have this same problem find

408

00:19:21,770 --> 00:19:23,360

role it's on top of the blade though.

409

00:19:24,390 --> 00:19:27,960

That way when you go across to here,

just cut this in nice and horizontal with

410

00:19:27,960 --> 00:19:30,300

the canvas or the bottom of the canvas.

411

00:19:30,300 --> 00:19:31,200

Keep your knife straight.

412

00:19:31,200 --> 00:19:35,580

Even if your land's dropping

down just a little bit, I'm just

413

00:19:35,580 --> 00:19:36,900

actually scraping into the paint.

414

00:19:36,900 --> 00:19:39,330

That's on the canvas there

to create this line here.

415

00:19:42,555 --> 00:19:44,925

It looks like we need some

trees and bushes up there by

416

00:19:44,925 --> 00:19:46,365

one point you think about that?

417

00:19:47,034 --> 00:19:47,274

Okay.

418

00:19:47,284 --> 00:19:49,325

We probably get to something

like it in a minute here.

419

00:19:49,335 --> 00:19:50,585

Let's see what we got go in here.

420

00:19:51,605 --> 00:19:57,794

Next letter comes from, Oh, Martha,

you were to be shamed presented

421

00:19:57,815 --> 00:19:59,044

that I was going to put that aside.

422

00:20:01,625 --> 00:20:03,004

That was a little too personal.

423

00:20:03,514 --> 00:20:05,555

Uh, how wise do you make evergreens?

424

00:20:06,155 --> 00:20:07,294

So you wanted to make some trees here.

425

00:20:07,294 --> 00:20:08,495

It is with a fan brush.

426

00:20:08,524 --> 00:20:10,235

Can they be made with other brushes?

427

00:20:11,325 --> 00:20:13,425

Well, sure we can use

the one inch brush out.

428

00:20:13,425 --> 00:20:15,825

Matter of fact, I may even like

it just as well as anything.

429

00:20:16,275 --> 00:20:21,255

Uh, I'm going to take SAP

green and midnight black.

430

00:20:21,255 --> 00:20:24,645

I'm just going to brush mixes

here and little bit of pressure

431

00:20:24,645 --> 00:20:28,695

and blue make life a lot easier

when you go to highlight this.

432

00:20:30,060 --> 00:20:32,820

Get a nice sharp chiseled edge by

going through the paint like this.

433

00:20:32,930 --> 00:20:33,140

Okay.

434

00:20:33,140 --> 00:20:34,070

Can we show that brushing?

435

00:20:34,070 --> 00:20:34,520

There you go.

436

00:20:34,580 --> 00:20:38,480

Show that up close so people can,

can see exactly how sharp that is.

437

00:20:38,480 --> 00:20:40,460

It'll come to you, girl, very sharp edge.

438

00:20:41,270 --> 00:20:44,870

But one of the secrets to getting this

to come to a sharp edge is loading

439

00:20:44,870 --> 00:20:46,370

a lot of pain into the bristles.

440

00:20:46,370 --> 00:20:50,240

You have to have enough pain in these

bristles to literally stick them together.

441

00:20:51,020 --> 00:20:54,230

If you don't stick them together,

then you really have problems

442

00:20:54,230 --> 00:20:56,030

because the brush will spread apart.

443

00:20:56,930 --> 00:20:58,100

And then all you do is just sort of.

444

00:20:58,514 --> 00:21:02,415

Tap like you're making little Aziz, just

exactly like you're using the fan brush.

445

00:21:02,415 --> 00:21:02,715

Really.

446

00:21:03,825 --> 00:21:05,145

It's just leak is basically low.

447

00:21:05,145 --> 00:21:07,605

Same quite often.

448

00:21:07,605 --> 00:21:08,925

That's that's the tricky part.

449

00:21:08,925 --> 00:21:12,615

If you don't keep enough paint in

this brush, no paint, no painting.

450

00:21:13,785 --> 00:21:15,105

That's what I tell my class.

451

00:21:15,285 --> 00:21:16,365

No paint, no painting.

452

00:21:16,395 --> 00:21:16,754

Right?

453

00:21:22,605 --> 00:21:25,574

Maybe he has, maybe

you've heard this before.

454

00:21:25,574 --> 00:21:26,834

He has maybe a little frame.

455

00:21:28,165 --> 00:21:28,375

Yeah.

456

00:21:28,385 --> 00:21:28,895

You know me?

457

00:21:28,895 --> 00:21:30,514

I think everybody should have a friend.

458

00:21:30,514 --> 00:21:31,145

Yeah, of course.

459

00:21:31,145 --> 00:21:38,074

That one may have got stepped

on there that could you do

460

00:21:38,074 --> 00:21:39,215

these with a two-inch brush?

461

00:21:39,304 --> 00:21:39,605

Sure.

462

00:21:39,605 --> 00:21:39,995

You can.

463

00:21:40,695 --> 00:21:42,045

Yeah, I like it also.

464

00:21:42,975 --> 00:21:48,365

So basically you're saying any old

brush brush were important when you're

465

00:21:48,365 --> 00:21:52,145

making trees of any kind that you're,

that you worry about shape more

466

00:21:52,145 --> 00:21:53,195

than what you're making them with.

467

00:21:54,455 --> 00:21:54,665

Good.

468

00:21:54,665 --> 00:21:55,955

Old dark color in here.

469

00:21:57,005 --> 00:21:58,505

Can you good?

470

00:21:58,505 --> 00:22:01,565

I'm glad you're making some bushes

because that's my next question here

471

00:22:01,565 --> 00:22:07,290

that I'm looking at says, uh, If I

make a Bush that I'm not happy with.

472

00:22:07,320 --> 00:22:08,310

How can I correct?

473

00:22:08,310 --> 00:22:08,560

It?

474

00:22:08,560 --> 00:22:14,250

It also goes on to say, uh, I'm having

trouble also making the brilliant

475

00:22:14,250 --> 00:22:16,350

highlights so that you make on the show.

476

00:22:16,590 --> 00:22:17,700

What am I doing wrong?

477

00:22:17,940 --> 00:22:19,590

So that's a two-part question.

478

00:22:20,940 --> 00:22:22,350

Highlights on the bushes.

479

00:22:22,410 --> 00:22:24,570

Venice let's first show

how to correct one.

480

00:22:25,250 --> 00:22:27,980

Let's make one, let's make a mess.

481

00:22:27,980 --> 00:22:28,970

That's what your parents say.

482

00:22:28,970 --> 00:22:30,110

I'm trying to get you to do listen.

483

00:22:30,110 --> 00:22:31,460

I can handle that pretty easy.

484

00:22:32,540 --> 00:22:32,870

Okay.

485

00:22:32,870 --> 00:22:33,800

What I'll do is maybe.

486

00:22:34,845 --> 00:22:35,805

Oh, just brush up.

487

00:22:36,705 --> 00:22:41,565

I'm like a general student may

do this is what happens in class.

488

00:22:41,565 --> 00:22:46,455

Sometimes not enough paint, use

it on the brush and come up here.

489

00:22:49,625 --> 00:22:49,805

Okay.

490

00:22:49,805 --> 00:22:52,955

Maybe we can get a real tight

close-up of that and just show

491

00:22:52,955 --> 00:22:54,305

exactly what's happening here.

492

00:22:54,615 --> 00:22:57,485

As you can see it sorta, Steve

uses this word all the time.

493

00:22:57,485 --> 00:22:58,205

They mooshed.

494

00:22:58,325 --> 00:22:58,625

Yeah.

495

00:22:58,685 --> 00:23:02,435

It's just sort of most wished

in there, if you should.

496

00:23:02,895 --> 00:23:07,785

Have this happened and all of us who are

painting in this method at one time or

497

00:23:07,785 --> 00:23:09,255

another, we've made a Bush like this.

498

00:23:09,255 --> 00:23:12,735

I guarantee you take the

knife and do a Bush ectomy.

499

00:23:12,735 --> 00:23:13,635

Watch Dana here.

500

00:23:15,375 --> 00:23:16,515

This is a Bush ectomy.

501

00:23:16,545 --> 00:23:18,725

You just take that rest

or read it pretty simple.

502

00:23:18,725 --> 00:23:19,565

And yep.

503

00:23:20,165 --> 00:23:22,355

And back with some more of your dark pain.

504

00:23:23,235 --> 00:23:24,524

Just go right back.

505

00:23:24,524 --> 00:23:27,735

And the one thing though, that happens

at each time, though, you do this, your

506

00:23:27,735 --> 00:23:31,575

bushes, it is going to grow a little bit,

a little bit, and you have to be careful.

507

00:23:31,575 --> 00:23:34,695

I've seen people when they first

started doing this, they've had to

508

00:23:34,695 --> 00:23:37,935

nail another canvas on top because

of Bush or a tree would get so high.

509

00:23:38,355 --> 00:23:39,225

And now she wants the correct.

510

00:23:39,754 --> 00:23:42,155

Well, and I would suggest when

you're loading this, you can see a

511

00:23:42,155 --> 00:23:43,625

Bush right down there on my pallet.

512

00:23:43,625 --> 00:23:48,544

And when I pick this brush up right here

in this area, and it takes more paint than

513

00:23:48,544 --> 00:23:51,875

probably what you're thinking, you have

to load a lot of paint into the brush.

514

00:23:52,575 --> 00:23:54,375

And, and create that rounded corner.

515

00:23:54,375 --> 00:23:56,685

You pull it in one direction

that makes that rounded corner.

516

00:23:56,735 --> 00:24:00,544

Then you put that rounded corner

to the top, and it's a super

517

00:24:00,665 --> 00:24:03,695

light, light touch when you're

getting these bushes on the canvas.

518

00:24:04,685 --> 00:24:04,865

Yeah.

519

00:24:04,865 --> 00:24:05,014

I know.

520

00:24:05,014 --> 00:24:07,655

Sometimes when you watch the shows,

it looks like you take a run and

521

00:24:07,655 --> 00:24:11,465

started across the room and sock them

and don't kill all your darks, I say.

522

00:24:11,465 --> 00:24:14,075

And he might even to help

separate some of them.

523

00:24:14,075 --> 00:24:16,865

You may want to add just a little

bit of a red to your color.

524

00:24:17,655 --> 00:24:18,045

Okay.

525

00:24:18,045 --> 00:24:20,325

Why don't you just drop in a

couple little bushes there.

526

00:24:20,355 --> 00:24:22,065

We're about to run out

of time on this show.

527

00:24:22,065 --> 00:24:25,575

I hope we've answered most of

the questions that people have.

528

00:24:26,264 --> 00:24:28,125

The one, one remaining

question that I have.

529

00:24:28,125 --> 00:24:29,865

And if you have time, maybe

you'll do that for us.

530

00:24:29,865 --> 00:24:31,275

It says, I love your reflections.

531

00:24:31,275 --> 00:24:32,205

They are so real.

532

00:24:32,385 --> 00:24:33,495

Are they easy to do?

533

00:24:33,855 --> 00:24:35,435

Could you maybe reflect a

little bit of that down?

534

00:24:36,065 --> 00:24:36,514

Oh yeah.

535

00:24:36,935 --> 00:24:40,145

Just simply reverse the brush

while you're doing that.

536

00:24:40,145 --> 00:24:42,245

And I've got a couple of other

ones here that I want to answer.

537

00:24:43,425 --> 00:24:44,235

I'm sorry, go ahead.

538

00:24:44,445 --> 00:24:47,655

Put some color, just reverse it

and write down in the water here.

539

00:24:48,585 --> 00:24:48,945

Okay.

540

00:24:49,725 --> 00:24:54,195

Here's a question that says, uh, what do

I do with paint that I have left over?

541

00:24:54,195 --> 00:24:55,305

Do I have to throw it away?

542

00:24:55,995 --> 00:24:57,075

Absolutely not.

543

00:24:57,165 --> 00:24:59,055

Oil paint that you got me again.

544

00:24:59,055 --> 00:25:00,585

Didn't you oil paint.

545

00:25:01,725 --> 00:25:06,675

Uh, you can take and cover it with

something like saran wrap or aluminum

546

00:25:06,675 --> 00:25:11,405

foil and keep it for several days

on a pallet, or you can take him and

547

00:25:11,415 --> 00:25:13,875

put it in your freezer and freeze it.

548

00:25:14,175 --> 00:25:17,175

And it will it'll last,

almost indefinitely.

549

00:25:17,445 --> 00:25:19,455

Now, if you have a, if you

have a freezer, that's self

550

00:25:19,455 --> 00:25:20,955

defrosting, you have to cover it.

551

00:25:21,450 --> 00:25:23,490

Because it will dry out over time.

552

00:25:24,450 --> 00:25:27,150

And you know, when I first started

doing that, I got in a lot of

553

00:25:27,150 --> 00:25:29,730

trouble because my wife thought it

was something in the icebox that we

554

00:25:29,730 --> 00:25:34,260

were going to eat and she took it

out and had a big mess on her hand.

555

00:25:34,260 --> 00:25:36,900

So I wasn't too popular around

the home front for a few days.

556

00:25:37,140 --> 00:25:38,880

So you might want to label what it is.

557

00:25:39,840 --> 00:25:42,180

And here's another question,

and this is very common.

558

00:25:42,180 --> 00:25:43,560

I wished I'd asked this one earlier.

559

00:25:43,560 --> 00:25:46,500

What if I don't have time to

finish my painting in one setting?

560

00:25:46,650 --> 00:25:47,490

What can I do?

561

00:25:48,090 --> 00:25:49,710

I think probably the easiest thing there.

562

00:25:50,700 --> 00:25:53,340

If, if for some reason you don't

get it finished, try to find a good

563

00:25:53,340 --> 00:25:54,900

stopping point for your painting.

564

00:25:54,900 --> 00:25:58,560

Sometimes like the water line is

excellent and just stop it right there.

565

00:25:59,070 --> 00:26:02,430

If you was to stop right along

in here someplace, and then.

566

00:26:03,030 --> 00:26:06,389

The next day or til you come back

and if the liquid white has dried and

567

00:26:06,389 --> 00:26:09,810

it will last for several days on a

good canvas, but if it has dry, then

568

00:26:09,810 --> 00:26:13,320

you can come right in here and add a

little bit more of the liquid white.

569

00:26:13,560 --> 00:26:15,300

And you can go right

on about your business.

570

00:26:15,930 --> 00:26:19,830

If, for example, if you wanted to come

in here and you wanted it, wet liquid

571

00:26:19,830 --> 00:26:21,930

clear can be used to cover areas.

572

00:26:22,275 --> 00:26:24,825

And it won't show like

the liquid white will.

573

00:26:25,215 --> 00:26:28,295

So you can go back and put some

of the base code mediums onto the

574

00:26:28,295 --> 00:26:30,125

canvas, continue your painting.

575

00:26:30,905 --> 00:26:33,785

And I think with that, we're

going to shut it down for the day.

576

00:26:34,445 --> 00:26:37,685

And as I mentioned earlier, this is

the last show of the 17th series.

577

00:26:38,225 --> 00:26:40,895

And I want to thank you for

allowing me back into your home.

578

00:26:40,895 --> 00:26:42,635

Again, this has been a

special series to me.

579

00:26:42,635 --> 00:26:45,695

I've been able to bring you some of

my friends, my son has been on the

580

00:26:45,695 --> 00:26:50,135

show and a lot of, a lot of the little

creatures that I'm so crazy about.

581

00:26:50,670 --> 00:26:54,390

And I hope you enjoy seeing

my creatures and my friends.

582

00:26:55,380 --> 00:26:58,440

And I thank you very, very much for

allowing me into your living rooms.

583

00:26:58,530 --> 00:27:02,610

I feel like I'm part of your family

and from all of us here, we'd

584

00:27:02,610 --> 00:27:03,960

like to wish you happy painting.

585

00:27:04,980 --> 00:27:06,150

And God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S17E13 - Mountain Beauty

Bob Ross's

The Joy of Painting

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