Bob Ross's

The Joy of Painting

S18E07 - Golden Morning Mist

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Hi, welcome back.

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Certainly glad you could join me today.

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Cause today I thought we'd do

just a happy little painting.

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In fact, I thought today we do the

little painting that you see at the

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opening of each show of this series,

the little soft painting that has all

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the little yellows in it, and I'll

show you exactly how that one was made.

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It may not be an exact duplicate

of the one that we show.

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But it'll be close enough that you will

know exactly how to do your own at home.

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So tell you what, let me show

you what I've done up here.

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I've got my standard old 18 by 24 inch

canvas, but I've taken black Jesso and

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I've painted this whole area around here.

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So it looks like a big wave and allowed

the black Jesso to dry completely.

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Then on top of that, we've put transparent

color or semi-transparent, it's

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transparent enough for what we're doing.

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And I started here and there's

several colors, so I'll go

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through them with Indian yellow.

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Right about here and

just let it blend back.

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And then I've added a little bit of

a dark Sienna mixed with a little

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lizard and Crimson, and I've just

blended that back in and on the edges.

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We've put a little van

Brown, so it'd be very dark.

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So I tell you what, let's start

out, having run all the colors

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across the screen that you need

to paint this little picture.

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And while they're doing that, shoot,

let's go on up here and get started today.

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Let's start with a small

amount of yellow ochre.

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Just a little yellow ochre and

let's go appear in the light area to

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begin, begin putting in some color.

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All we're going to do is take this yellow

ochre and just put it right in here.

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Beautiful colors, nice golden color.

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And it's mixing with the liquid

white that's on the canvas.

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This little white area here has

liquid white on it, and that'll

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mix with that and it'll blend it to

some beautiful, beautiful colors.

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Now then without cleaning the brush,

I'm going to pick up the least little

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amount of alizarin Crimson, and

just apply yet least little mouth.

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I don't want this to get very

bright, wants to stay very soft

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and very muted there, but I

want it to get a little darker.

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This is going to be our

light source in here.

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This black Jesso does some of the

most fantastic things, so wonderful.

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Wonderful.

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Thing to play with.

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There we go.

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Now they haven't still, without claiming

the brush, I'm taking a little bit of

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the dark Sienna, little dark Sienna.

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It's a very warm, brownish color

and just blend that right in.

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Okay.

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And that gives us our color that we want.

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Now, then I want to create

that very bright effect.

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So let me take another brush.

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I have several brushes going, so I

don't have to spend all my time washing

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them, even though that is the fun part.

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We'll go right into titanium white

here with the old two inch brush.

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And I'm loading quite a

bit of the color on there.

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Okay, let's go back up here now for our

light source is going to be in here.

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Start right up against that dark

area and begin blending that outward.

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That's going to mix with all

the colors that you have.

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It'll create a very light area.

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It may not look as light now as it

will when we're finished, because

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we put all kinds of things in there.

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Now you can do this as many times as

you want to achieve a desired lightness,

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but each time I recommend that you

wash your brush, clean it, dried it.

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Start with a nice fresh brush and

fresh color back up in the light.

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Eric.

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And that is the fun part of this.

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Okay.

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Get a little bit more or the titanium

white and let's go right back up

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here and just blend that right in.

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Does that say you can do this three, four

times if you want it to each time though,

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I'd really recommend you clean the brush.

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You don't.

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You gotta to take that contaminated, dirty

color, dark color back into this light

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area and you'll lose this beautiful glow.

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Okay.

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Now them just very lightly.

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Just pull that out there.

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Now, when we're done, that's

going to be very bright, very

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bright and very effective.

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There we are.

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We just beat that old breast to death.

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It's a good way of taking out all your

frustrations and hostilities and all that.

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Now then.

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Let's take a little, we

just mix these on a brush.

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We'll take a little titanium, white,

a little bit of the dark Sienna.

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I want to keep this color quite

subdued, a little bit of the

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lizard Crimson into it, but I don't

want this to get very dark there.

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Right.

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And we have color in the brush.

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Let's go right up here.

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Now let's start making the

indication of all kinds of little.

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Little bushes that live back in here, and

I want this color to be so close to what's

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up there that you almost can't see it.

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This will make all the things that

are so far away and all we're using

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is a corner of the brush pushing

upward, just push upward there.

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I like these very soft little things.

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I hope, I hope you can see

that there is something there.

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This first layer.

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We want to be very, very

subdued though, as we put.

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More layers in there.

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Then we can get a little darker with it.

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All we're doing is just pushing in

some basic little shapes though.

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Okay.

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Now then add a little more of the

dark Sienna to the same color, just

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white little dark Sienna, a little

touch of lizard Crimson there.

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And now it's getting a little

darker, a little darker, and

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we could put in another layer.

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This one will show up even more.

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And you can put as many layers of these

little bushes in here that you want.

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There we go.

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There's a little thing.

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It lives right there.

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Let your imagination go.

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Just make all kinds of little things

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there.

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Here's one over here.

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Maybe we'll add a little bit

more of the dark color to that.

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So it stands out a little more there,

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just use a corner of the brush and

just sort of rub these on and that

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upstroke, you're pushing outward.

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That's where you get the nice

little edges, but you can create the

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illusion of a lot of little bushes and

trees back here just by doing that.

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Many or as few as you want.

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And maybe right here, maybe

there's one that lives there.

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We don't know.

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Maybe it goes all the way up in here.

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As I've mentioned earlier, this

will not be an exact duplicate of

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what you see at the beginning of

the show, but it will certainly

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give you an idea of how it was made.

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There we are now that I'm on dark

in that color a little bit more.

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Dark Sienna white.

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And you can even add a little bit

of Vandyke Brown here and there.

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If you want it to get dark, don't

have to get too dark too quick.

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I'll put the indication of another Bush.

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It lives right here, there, and

you come right over the black Jesso

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because this white here is opaque

and it'll cover right over that dark.

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You can just make layer after

layer, after layer, all kinds of

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just happy little things here.

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It's a super way to make little

scenes that look like they're

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deep in the woods there.

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Okay.

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Now then let's take, add a little

more white to that same color

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and lightened it back up again.

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There we go.

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Get a little touch of

the Crimson in there.

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A lot of color on the brush

though there, and maybe back in

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here, let's come right in here.

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Maybe their lives in our world,

a happy little tree right there.

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Soon.

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There he is.

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Make him a little bit stronger.

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Okay.

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We'll give him a little friend.

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Everybody needs a friend they're shooting.

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Maybe he's got two friends.

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Maybe he's real popular.

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Yeah, we'll take our liner, brush

a little paint thinner on it.

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We'll go right into the same color again.

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I want this paint though, to be

very thin, then you can go up here.

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It will put the indication here and there.

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Few little limbs and branches

sticks, twigs, whatever you want to

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call it all kinds of little things.

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If you have trouble making your

paint flow, add more paint thinner.

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It was just too thick.

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That's the only thing

that's wrong with it.

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Just add a little more thinner.

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Now while we have that going maybe here

and there, we can see the indication

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of some little things that are

little stadiums that are in some of

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these bushes that are far back here,

but we're not looking for a lot of

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detail and we're going to lose this

illusion of soft Misty, distant areas.

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All right.

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She would just go back to

her old two inch brush here.

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We'll go right into that same

color and I'll just tap it firmly,

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tapping load a little color on it.

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Let's go back up here.

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And maybe there's indication of

some nice little leaves here.

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We're just using the corner of the

two inch brush and we can just begin

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putting in all kinds of little things.

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These are just sort of

like little silhouettes.

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We back in the distance.

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Not very strong, very bright at

this point, we'll get brighter

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and darker as we move forward.

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There's back here.

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We just want little silhouettes.

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That's really all.

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We're looking for

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the hair and same old colors, the

Browns and the Crimson and white.

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Just mix them up real good here now then.

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Come in here, maybe a little bit darker.

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So to stands out against set it there.

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Beautiful.

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Just right.

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Just right.

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Tastes good.

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There we go.

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We're beginning to get many layers

in here that quickly though.

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It looks like yours.

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There's just tremendous depth in here.

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Okay.

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Only because you're playing with color

and that little Misty area in between.

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That's all you have to do to create

that illusion of distance and mist.

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two inch brush.

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Now we can start working

forward and getting some of

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these big trees that hang over.

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We'll take some dark Sianna.

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And like Brown little

crumbs and same old colors.

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Shoot, doesn't matter.

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Maybe even a little bit of the midnight

black, we're getting quite dark now

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though, push that brush into the paint.

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Say push.

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I creates that little Ridge right

out of the end of the bristles.

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Now then let's go right up in here.

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And begin thinking about that

shape and form of your big trees

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that are hanging over here.

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There, look at that.

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Isn't that fantastic.

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If you can do that for the big

old two inch brush, you can

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really count all those things.

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They just sort of happened here.

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It looks like a lot of

trees and stuff already.

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Maybe down in here, there were some bushes

they lived right along in here and make

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a few little individual things wherever

you want them now, because we have this

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black Jessa and all this under color.

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A lot of this is going to

happen automatically for you.

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You don't have to spend a great

deal of time working and worrying,

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allow it to happen on the canvas.

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There now use the same old brush.

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I'm going to go right into a little

bit of the care, the yellow, the

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yellow ochre, and load it the same way

I left that dark color on the brush.

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So it will mix with this and

you'll get a much nicer color.

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All right, let's go back up here

and we can come back in here.

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And let's highlight some of these there.

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I want to put too much highlight on here

or we'll lose that beautiful darkness.

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And if you lose the darkness,

then this light area back

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here is not near as effective.

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And that's what makes us painting

saying it's those beautiful dark areas.

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And then that contrast

in the light that just.

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It looks like you're

the sun being back here.

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Just play there we go.

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Think about shape and form.

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Don't just throw these out each.

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One's an individual.

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Each one, your friend treated well.

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Tree go ahead.

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But you can put as many or as few

little things as you want here.

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Now, then this is a very nice painting,

and I know we're not interested in that

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happy book, but if you're out here selling

paintings, this son of a gun will sell.

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And if you're out demonstrating for

people, this is one of those paintings

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that if people are watching you paint

it publicly, or if you're just painting

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00:13:49,295 --> 00:13:53,895

for a group of friends, They'll be so

excited by the time you're done, they'll

247

00:13:53,895 --> 00:13:56,974

be looking for their paintbrush there.

248

00:13:58,235 --> 00:13:59,645

Let's take a little bit of the titanium.

249

00:13:59,645 --> 00:13:59,854

White.

250

00:13:59,885 --> 00:14:02,495

Let's have some fun back in

the background back here.

251

00:14:03,064 --> 00:14:04,324

We have color on the canvas.

252

00:14:04,354 --> 00:14:07,895

So when we take white, maybe we will

have a little bit of water right here.

253

00:14:09,135 --> 00:14:09,435

Thank you.

254

00:14:09,435 --> 00:14:10,665

It was a little water in that painting.

255

00:14:10,725 --> 00:14:12,495

Just grab it and pull down.

256

00:14:13,335 --> 00:14:17,615

That's going to mix with what's

already on the canvas automatically.

257

00:14:18,395 --> 00:14:22,025

You'll get beautiful little water

effects without doing hardly a thing.

258

00:14:24,035 --> 00:14:25,295

Maybe it comes right on back.

259

00:14:25,835 --> 00:14:28,475

This is the way it, you went

right on the back like that.

260

00:14:29,564 --> 00:14:30,435

Wherever you want it to go?

261

00:14:30,765 --> 00:14:32,625

Maybe you want yours to

come around this way.

262

00:14:32,685 --> 00:14:33,285

That's all right.

263

00:14:35,265 --> 00:14:36,135

That's all right.

264

00:14:36,975 --> 00:14:37,425

Painting.

265

00:14:37,995 --> 00:14:39,375

And you hear me say this all the time.

266

00:14:40,035 --> 00:14:41,324

Painting should make you happy.

267

00:14:41,925 --> 00:14:43,935

If it does nothing else,

it should make you happy.

268

00:14:43,935 --> 00:14:46,755

If it doesn't make you happy,

then you're doing the wrong thing.

269

00:14:48,495 --> 00:14:48,824

Okay.

270

00:14:50,324 --> 00:14:53,085

Now then after you get that pulled

down and blended the way you want it.

271

00:14:53,385 --> 00:14:55,665

Very lightly, two hairs in some air.

272

00:14:55,785 --> 00:14:57,255

Let me get a clean brush.

273

00:14:57,855 --> 00:14:58,905

Let's just go across.

274

00:14:59,295 --> 00:15:03,825

And this will create that illusion of

reflections of water and that shimmer

275

00:15:05,145 --> 00:15:06,675

very nice and easy way to do it.

276

00:15:07,815 --> 00:15:11,925

Now, then let's go back to our

two inch brush and let's begin

277

00:15:11,925 --> 00:15:12,975

building all kinds of things.

278

00:15:12,975 --> 00:15:16,455

Take a little bright red, Indian,

yellow makes up a beautiful color.

279

00:15:18,075 --> 00:15:18,405

There.

280

00:15:18,765 --> 00:15:21,165

Let's go up here maybe right in here.

281

00:15:22,035 --> 00:15:22,665

We'll put.

282

00:15:24,045 --> 00:15:25,665

There's a happy little Bush lives there.

283

00:15:26,475 --> 00:15:29,205

And once in a while, you can dip

your brush into a little bit of the

284

00:15:29,205 --> 00:15:34,085

liquid white to make it a little

thinner and a little bit, and that'll

285

00:15:34,085 --> 00:15:35,345

make it pop right out of there.

286

00:15:37,145 --> 00:15:39,995

Because in my mind, I think there's

a light zinging right through there.

287

00:15:41,615 --> 00:15:43,745

Maybe there was another

one that lives right here.

288

00:15:44,465 --> 00:15:47,195

Now you have to do is just sort of

pick out where you think there's

289

00:15:47,195 --> 00:15:49,475

bushes and big ferns, whatever.

290

00:15:50,625 --> 00:15:53,295

I used to spend a lot of time in

Oregon and Oregon has some of the

291

00:15:53,295 --> 00:15:56,385

most beautiful ferns and stuff that

hang off, everything like that.

292

00:15:58,155 --> 00:15:59,385

It's unreal.

293

00:16:00,045 --> 00:16:00,974

Maybe I've been here.

294

00:16:02,805 --> 00:16:05,145

There's a big Bush, a little

bit of highlight out here.

295

00:16:05,564 --> 00:16:06,704

I want to keep it pretty dark.

296

00:16:06,854 --> 00:16:08,535

Don't want to lose that nice darkness.

297

00:16:10,334 --> 00:16:15,854

And then let's take a little

dark Sienna and a little bit of

298

00:16:15,854 --> 00:16:17,295

the yellow ochre mixed together.

299

00:16:18,060 --> 00:16:20,010

Tap a little bit color

right into the bristles.

300

00:16:21,270 --> 00:16:22,080

Maybe up in here.

301

00:16:23,490 --> 00:16:28,140

Maybe there's a big tree that lives

here and you can make out some

302

00:16:28,140 --> 00:16:29,340

of these branches hanging off.

303

00:16:31,320 --> 00:16:32,430

Just let them overlap.

304

00:16:32,520 --> 00:16:33,300

Don't worry about it.

305

00:16:33,870 --> 00:16:35,070

Go right over the top of the other one.

306

00:16:35,070 --> 00:16:37,860

If you think that's where it

should live, just go right over

307

00:16:40,020 --> 00:16:41,250

and that way it'll look natural.

308

00:16:42,960 --> 00:16:44,130

Uh, we had to look natural.

309

00:16:44,130 --> 00:16:49,140

It looks like was very thick

foliage, and I'm still just tapping

310

00:16:49,140 --> 00:16:51,930

with the top corner of the brush.

311

00:16:52,590 --> 00:16:53,310

All there is to it.

312

00:16:54,970 --> 00:16:57,060

As we work down here, I wanted

to get darker and darker.

313

00:16:57,060 --> 00:16:58,560

In fact, let me show you, let me show you.

314

00:16:59,010 --> 00:17:03,540

You could take some of this dark color

on the knife, and maybe we put the

315

00:17:03,540 --> 00:17:07,950

indication here that there's a tree

trunk here since the dark's there.

316

00:17:08,010 --> 00:17:10,860

All you gotta do is put

a little light, like, so.

317

00:17:13,170 --> 00:17:14,820

That's really all that we need.

318

00:17:16,010 --> 00:17:23,330

I'm gonna bring some of

these nice highlights right

319

00:17:23,330 --> 00:17:24,530

over the top of that trunk.

320

00:17:27,350 --> 00:17:31,970

And maybe down below it down here,

get a little more color, maybe.

321

00:17:32,600 --> 00:17:32,780

Yep.

322

00:17:33,195 --> 00:17:36,435

There's a nice little Bush

that lives down here, but it

323

00:17:36,435 --> 00:17:37,815

leaves that dark area in there.

324

00:17:37,965 --> 00:17:39,645

And that dark area gives shadow.

325

00:17:40,455 --> 00:17:41,925

That's where the little creatures live.

326

00:17:42,555 --> 00:17:43,485

They hide in there.

327

00:17:44,955 --> 00:17:46,035

That's where they stay.

328

00:17:46,095 --> 00:17:48,465

You always have to leave a

place for them, little Rascals.

329

00:17:50,235 --> 00:17:54,945

And that's where my little

squirrel heads, there we go.

330

00:17:57,314 --> 00:17:58,635

And work in layers.

331

00:17:59,475 --> 00:18:03,495

If you work in layers creates the

indication of a lot of bushes, rather than

332

00:18:03,495 --> 00:18:07,445

just one big Bush, it gives more depth.

333

00:18:09,845 --> 00:18:11,554

Now let's take deals.

334

00:18:11,615 --> 00:18:12,125

Fan brush.

335

00:18:12,125 --> 00:18:13,564

We've been using the old fan right here.

336

00:18:14,254 --> 00:18:15,875

We can come right up in here in this dark.

337

00:18:16,715 --> 00:18:20,105

And just, just by rubbing with a little

color, it doesn't take much color.

338

00:18:21,155 --> 00:18:23,495

You can begin putting in

all your little land areas.

339

00:18:23,955 --> 00:18:27,345

Leave some of that dark, especially along

this edge, it'll make it look like a

340

00:18:27,345 --> 00:18:29,265

bank and you won't have to do anything.

341

00:18:31,515 --> 00:18:32,145

And I'm lazy.

342

00:18:32,145 --> 00:18:34,965

If I can find an easy way

to make paintings work,

343

00:18:35,025 --> 00:18:35,925

that's what I'm looking for.

344

00:18:35,975 --> 00:18:38,465

Or say it here

345

00:18:41,465 --> 00:18:41,915

already.

346

00:18:42,245 --> 00:18:44,975

It looks like you're a banker

and you haven't done anything.

347

00:18:45,785 --> 00:18:46,085

Really?

348

00:18:46,085 --> 00:18:48,935

Haven't done anything as sneaky, huh?

349

00:18:49,500 --> 00:18:49,950

I like it.

350

00:18:50,820 --> 00:18:54,630

Let's go back and do some of a

yellow ochre, little dark Sienna.

351

00:18:54,690 --> 00:18:55,980

KDL the Indian, yellow.

352

00:18:56,730 --> 00:18:56,820

Okay.

353

00:18:56,960 --> 00:18:58,070

All of those pretty colors.

354

00:18:58,430 --> 00:19:02,870

Tap a little right on the corner

of the brush again, but see that

355

00:19:02,870 --> 00:19:04,100

pushing that's so important.

356

00:19:04,170 --> 00:19:06,230

Get that Ridge of paint

being pushed up there.

357

00:19:06,470 --> 00:19:07,850

Okay, let's go ahead.

358

00:19:07,850 --> 00:19:08,150

Up here.

359

00:19:09,080 --> 00:19:09,920

There may be in our world.

360

00:19:09,920 --> 00:19:11,930

There lives some bushes

and stuff over in here.

361

00:19:14,010 --> 00:19:14,640

There he is.

362

00:19:14,970 --> 00:19:17,940

There is a nice little nice little Bush.

363

00:19:18,630 --> 00:19:19,590

Beautiful little Bush.

364

00:19:20,580 --> 00:19:21,630

Think about shape though.

365

00:19:23,370 --> 00:19:25,590

And he's got a friend right there.

366

00:19:30,030 --> 00:19:33,810

Say there, maybe there's a, maybe

there's a bigger one lives right here.

367

00:19:34,110 --> 00:19:39,570

They come in all sizes and shapes, all

kinds of personalities, just like people.

368

00:19:41,430 --> 00:19:45,450

But no matter who you are or what

you size or shape or anything

369

00:19:45,450 --> 00:19:46,890

else is you still need a friend.

370

00:19:48,210 --> 00:19:53,280

Everybody needs a friend who

is a nice, bright red one, and

371

00:19:53,280 --> 00:19:54,570

rascal jump out and grab you.

372

00:19:56,550 --> 00:19:57,390

I like it so much.

373

00:19:57,420 --> 00:19:58,500

Maybe we'll just do another one.

374

00:19:59,340 --> 00:20:00,240

Red's pretty in there.

375

00:20:02,550 --> 00:20:03,690

That'll more than the yellows.

376

00:20:03,690 --> 00:20:08,400

And see, now we'll begin to layering and

here's another Bush in front of those.

377

00:20:09,990 --> 00:20:11,160

And this layering effect.

378

00:20:11,190 --> 00:20:13,290

Well, once again, I know you get

tired of hearing it, but this

379

00:20:13,290 --> 00:20:16,760

layering effect causes the distance

and depth in your painting.

380

00:20:19,400 --> 00:20:22,190

You can begin thinking about maybe

a little grassy areas are growing

381

00:20:22,190 --> 00:20:25,850

over here just by tapping downward.

382

00:20:26,240 --> 00:20:27,500

We can create that illusion.

383

00:20:29,060 --> 00:20:30,560

Maybe they come right on out like it.

384

00:20:31,070 --> 00:20:31,490

I don't know.

385

00:20:34,250 --> 00:20:35,690

Let your imagination go.

386

00:20:37,410 --> 00:20:40,050

Let it go there.

387

00:20:43,850 --> 00:20:44,180

Hey, there.

388

00:20:44,270 --> 00:20:46,340

And that sort of begins giving

you the lay of the land.

389

00:20:46,340 --> 00:20:52,400

This side has much more of a angle on

it and the other side, and that keeps

390

00:20:52,400 --> 00:20:55,610

them from both being the same and

maybe it helps it from being boring.

391

00:20:56,780 --> 00:20:57,080

All right.

392

00:20:57,080 --> 00:21:02,090

Going back to my, to my fan brush, we'll

take a little dark color and let's just

393

00:21:02,090 --> 00:21:04,730

go in here and scrubbing the indication.

394

00:21:05,595 --> 00:21:10,545

Have a little land underneath this there

we'll just scrub it in with a fan brush.

395

00:21:10,545 --> 00:21:11,385

You could do it with a knife.

396

00:21:11,415 --> 00:21:12,105

If you wanted to.

397

00:21:13,755 --> 00:21:14,565

Doesn't much matter.

398

00:21:16,575 --> 00:21:18,675

Maybe this, maybe there's a sandbar here.

399

00:21:19,305 --> 00:21:24,855

It seems like we had a nice sandbar

put in a little dark color first.

400

00:21:27,405 --> 00:21:30,465

Then we can go back, move

a little white and Brown.

401

00:21:32,235 --> 00:21:32,985

Very gently.

402

00:21:33,135 --> 00:21:33,585

Grab it.

403

00:21:35,895 --> 00:21:36,315

Go back

404

00:21:39,485 --> 00:21:41,405

and that's all you need

to create that illusion

405

00:21:44,645 --> 00:21:47,375

there, but don't kill all that dark area.

406

00:21:47,735 --> 00:21:49,264

Leave some of those nice dark areas.

407

00:21:49,264 --> 00:21:50,284

Maybe the sands wet.

408

00:21:50,284 --> 00:21:53,375

There is something we don't know.

409

00:21:55,955 --> 00:21:56,165

Okay.

410

00:21:56,165 --> 00:21:56,524

There though.

411

00:21:58,085 --> 00:22:02,075

That's just such a super way of making

a very effective little painting.

412

00:22:03,685 --> 00:22:06,165

Man what's going on with

her, a little bushy things.

413

00:22:06,165 --> 00:22:07,965

Maybe there's a little touch

of green here and there.

414

00:22:08,365 --> 00:22:10,395

Little SAP green, not much, but a little.

415

00:22:11,745 --> 00:22:14,745

And this comes down now think about this.

416

00:22:14,745 --> 00:22:17,534

This is laying flat and this is

coming down at quite an angle.

417

00:22:17,985 --> 00:22:19,185

So we want to show that.

418

00:22:19,574 --> 00:22:21,945

So begin creating that very angle.

419

00:22:23,835 --> 00:22:27,585

Maybe tell you what, maybe we're standing

up here in the Hill, sort of overlooking

420

00:22:27,585 --> 00:22:29,955

this and it comes right on round.

421

00:22:31,605 --> 00:22:31,905

Right.

422

00:22:31,905 --> 00:22:33,585

I a around like that.

423

00:22:36,525 --> 00:22:36,885

Okay.

424

00:22:39,525 --> 00:22:40,275

There we go.

425

00:22:41,175 --> 00:22:43,155

But the angles here are most important.

426

00:22:43,215 --> 00:22:44,085

Watch here, watch here.

427

00:22:44,775 --> 00:22:48,495

See, just think of the lay of

the land and have your brush

428

00:22:48,525 --> 00:22:49,845

go in that basic direction.

429

00:22:49,875 --> 00:22:54,375

That's really all you have

to do all you have to do.

430

00:22:56,505 --> 00:22:58,575

And the light Jessa works for you.

431

00:22:59,025 --> 00:23:01,035

It, it puts all the dark in here for you.

432

00:23:01,754 --> 00:23:06,525

And then that under color, the transparent

color we put on top mixes with all this,

433

00:23:06,525 --> 00:23:08,775

and it keeps, keeps your colors beautiful.

434

00:23:09,165 --> 00:23:10,395

Just nice things happen.

435

00:23:11,595 --> 00:23:13,995

Tell you what, let me find another fan

brush here have served a long time.

436

00:23:15,004 --> 00:23:21,065

We had a couple of trees in that, so let's

take, let's take like Brown on the fan

437

00:23:21,065 --> 00:23:23,945

brush, just back and forth quite a bit.

438

00:23:25,415 --> 00:23:25,805

Maybe.

439

00:23:26,865 --> 00:23:27,255

Gotcha.

440

00:23:29,915 --> 00:23:30,515

Be brave.

441

00:23:30,995 --> 00:23:32,285

This is your brave retest.

442

00:23:32,705 --> 00:23:33,815

Let's give him a friend too.

443

00:23:36,875 --> 00:23:38,675

We'll do a couple of

happy little trees here.

444

00:23:39,125 --> 00:23:40,505

Maybe this one's a little stronger.

445

00:23:40,505 --> 00:23:40,865

That way.

446

00:23:40,865 --> 00:23:42,095

One looks bigger than the other one.

447

00:23:43,625 --> 00:23:45,425

And maybe he takes care

of this little one.

448

00:23:45,425 --> 00:23:46,865

Doesn't allow anybody to hurt him.

449

00:23:48,275 --> 00:23:49,835

Everybody needs a big friend.

450

00:23:50,405 --> 00:23:50,645

Hmm.

451

00:23:51,305 --> 00:23:53,735

Tell you what, maybe this is one tree.

452

00:23:54,945 --> 00:23:56,235

And maybe, maybe it's dead.

453

00:23:57,975 --> 00:24:00,615

Maybe it's dead and nature.

454

00:24:00,915 --> 00:24:04,005

You have a lot of dead trees out

in the woods and sometimes we

455

00:24:04,005 --> 00:24:07,755

avoid painting them, but dead

trees are also part of nature.

456

00:24:09,645 --> 00:24:10,215

There we go.

457

00:24:10,485 --> 00:24:15,675

A little bit of paint thinner on the liner

brush, and let's go right up in here and

458

00:24:15,675 --> 00:24:20,715

let's just begin putting in all kinds

of little lambs that are still hanging

459

00:24:20,715 --> 00:24:22,245

on here, even though the trees did.

460

00:24:23,655 --> 00:24:26,324

There were still a few of them here

that are hanging on for dear life.

461

00:24:27,485 --> 00:24:30,334

I think that's about right.

462

00:24:30,485 --> 00:24:31,625

They're hanging on for dear life.

463

00:24:31,625 --> 00:24:34,774

They're not dead, but anyway,

do you know what I mean?

464

00:24:34,774 --> 00:24:36,125

They're, they're hanging in there.

465

00:24:39,125 --> 00:24:42,064

They're and you put as

many, or as few, you have to

466

00:24:42,064 --> 00:24:43,715

determine how did your tree is?

467

00:24:43,925 --> 00:24:45,784

Maybe it doesn't have

hardly any lens left on.

468

00:24:46,504 --> 00:24:47,375

It's also fun.

469

00:24:47,764 --> 00:24:50,975

Try this maybe and put one of them

that's fell down right across the.

470

00:24:51,495 --> 00:24:54,015

Stream there make a little natural bridge.

471

00:24:55,185 --> 00:24:57,885

That way the little red Coon has

a place to sneak across there.

472

00:24:59,795 --> 00:25:00,395

There we go.

473

00:25:01,595 --> 00:25:04,535

Whatever you want, I can sing.

474

00:25:06,005 --> 00:25:07,895

And then maybe a little

highlight on those trees.

475

00:25:07,925 --> 00:25:10,235

Cause my mind light's going

to be zinging through here.

476

00:25:11,135 --> 00:25:13,475

Take of that little bit of that

light Brown and white, and I'm

477

00:25:13,475 --> 00:25:14,945

just going to take and touch.

478

00:25:15,485 --> 00:25:16,145

Just touch.

479

00:25:17,024 --> 00:25:18,135

Just touch the canvas.

480

00:25:18,135 --> 00:25:19,155

We'll pull off what it wants.

481

00:25:19,245 --> 00:25:24,705

And as you work back, cause you're

picking up that dirt dark color, it'll

482

00:25:24,705 --> 00:25:26,294

get darker and darker automatically.

483

00:25:28,534 --> 00:25:31,205

They're chill just enough to

give it a little highlight.

484

00:25:31,205 --> 00:25:32,314

That's all we're looking for.

485

00:25:34,324 --> 00:25:34,865

There we go.

486

00:25:35,105 --> 00:25:35,375

See.

487

00:25:37,685 --> 00:25:37,955

Okay.

488

00:25:38,764 --> 00:25:39,695

And then sometimes.

489

00:25:40,365 --> 00:25:40,875

It's fun.

490

00:25:41,445 --> 00:25:45,284

If we're going to have light coming

through here, sometimes it's fun to take.

491

00:25:45,495 --> 00:25:49,575

I've got the same old brush here that

I had the, uh, all the yellows zone, et

492

00:25:49,575 --> 00:25:50,804

cetera, that I was making the grass with.

493

00:25:50,825 --> 00:25:56,475

I went right into a little bit of the

titanium white one, a lighten C push it.

494

00:25:56,475 --> 00:25:56,895

Same way.

495

00:25:56,925 --> 00:25:58,155

Let's go up here now.

496

00:25:58,175 --> 00:25:59,504

Think where the light's going to come.

497

00:25:59,895 --> 00:26:02,925

If it's coming right through here,

you can just take this and tap a

498

00:26:02,925 --> 00:26:05,024

little bit of highlight, right?

499

00:26:05,024 --> 00:26:09,405

In the areas where you think light would

strike the strongest right in here.

500

00:26:11,415 --> 00:26:13,215

Okay, but don't overdo it.

501

00:26:13,695 --> 00:26:17,495

If you overdo it loses

its effectiveness there.

502

00:26:19,745 --> 00:26:23,975

Something like, so I think we bet have

a finished painting where that I'm going

503

00:26:23,975 --> 00:26:28,024

to take the liner brush a little bit of

paint, thinner, little, the bright red.

504

00:26:28,355 --> 00:26:29,615

And I'm going to sign this one.

505

00:26:30,034 --> 00:26:31,205

I really hope you've enjoyed it.

506

00:26:31,804 --> 00:26:35,195

It's a lot of fun allows you to

show how our opening was made.

507

00:26:36,150 --> 00:26:39,270

It only takes a couple of minutes to

paint it, but it takes a lot of fantastic

508

00:26:39,300 --> 00:26:44,160

people, a great deal of time to stick

it in that little square that you see.

509

00:26:45,150 --> 00:26:47,730

And I sincerely appreciate

everything they do.

510

00:26:48,270 --> 00:26:50,850

So from all of us here, I'd

like to wish you happy painting.

511

00:26:51,300 --> 00:26:52,890

God bless, and I'll see you next time.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S18E07 - Golden Morning Mist

Bob Ross's

The Joy of Painting

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