Bob Ross's

The Joy of Painting

S20E01 - Mysitc Mountain

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Hello, I'm Bob Ross.

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And I'd like to welcome you to the

20th joy painting series, son of a gun.

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It's hard for me to believe this

is a 20th series, but it is.

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And I'd like to thank you very

much for inviting me back for

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another series of painting shows.

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If this is your first time with us, that

may extend a personal invitation for you

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to drag out your brushes in the painting

and paint along with the sea chew.

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I think you'll enjoy it.

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Tell you what let's start out today and

have run all the colors across the screen.

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But you need to paint along with me.

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And I think we'll just do a

happy little picture today.

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So let me tell you what

I've got done up here.

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We have our standard old 18 by 24 inch

canvas, but you use whatever size you

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want and we have it covered with a little

bit of liquid white, just a thin even

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coat, just enough to make the canvas wet.

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And with that, we'll just take off and

we'll have a super time start today.

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I think I'll use a little one inch brush.

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We'll go into a very, very

small amount of the fellow blue.

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Just as a little bit don't want much

and let's make some, let's make some

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happy little clouds in our world.

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Let's come right up here.

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And what does take this brush?

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We're just bounce in

some, some nice shapes.

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Now, when we're doing this,

we're interested in the

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white area, not the dark.

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So don't worry about the dark area.

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We're going to blend that all out.

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All we're doing is putting in some

color for the shadows of our clouds.

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And this is one of the nicest,

easiest ways of making very

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effective, great big ones.

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Clouds there SI this wide area.

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Once again, maybe there's another little

cloud that lives in our world right now

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there where ever you think they should be,

then that's exactly where they should be.

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Just wherever and just use the old

little one integration, just making tiny

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little circles, just tiny little circles.

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There we are.

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Okay.

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Maybe I'll add a little

color right in here too.

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Just so there'll be a little color

at the base of this cloud there.

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Now then let's take our little brush.

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This is a two inch brush and go right

up in here and very gently I'm using

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just the corner of the brush would

make little round circle patterns here.

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Just sort of winded up, blend it together.

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Allow it to blend with a white

that's already on the canvas.

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And that's the joy of this

wet on wet painting technique.

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The fact that it's wet allows you

to blend color right on the canvas.

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Well, I don't the cameras.

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Yo.

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Now it's beginning to make a little sense.

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See how those dark areas ended up being

the nice shadows and the white areas.

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Well, they ended up being our clouds.

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This is a great way to make

clouds for seascape paintings.

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This crazy big fluffy

clouds works very nice.

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There we are.

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Yeah, they probably had

this old breasts dirty.

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Tell you what let's do.

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Let's go back into a little

bit more that they load blue.

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They little blue is a very nice color.

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It's very warm blue.

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I liked that.

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She asked a little color on the brush.

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Okay, let's go back up here.

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Let's have some water in this painting.

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If you've painted with me

before, you know, I'm a fanatic

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for water, I love water.

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And it's one of the nicest, easiest

things to paint in this technique.

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And today, maybe this

one will be still water.

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So we want these lines to be

basically straight across here,

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because as you know, still waters,

always flapping, always level there.

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Yeah, just very lightly all the

way across and sort of bring it

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together in that light area here

it'll remain in there, there.

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Okay.

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Now the most fun part of this whole

technique is washing the brush.

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So let's do that.

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We wash our brushes with odorless dinner.

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Shake off the excess

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and just beat the devil out of him.

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This is where you take out all

your frustrations and hostilities

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and just have a good time.

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Let's go and do a little titanium white.

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You use the old fan brush

who makes some little clouds.

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I'll be right back.

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Let me grab a least little

touch of the bright red.

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Just enough, a little bit more.

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There were just enough to put a little

pinkish glow into her little clouds.

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They won't much.

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Don't know much.

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Okay, let's go up here now.

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We gotta make big decisions.

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We'll just use this brush and

decide where a little clouds live.

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And we just come along here

and sort of drop them in.

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This also works very well

with a little one inch brush.

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Very well, either way that you

want to do it either way you

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haven't painted with us before.

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One of the things that we try to do here,

we tried not to teach you just to copy.

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All we're trying to do is teach you a

technique and turn you loose on the world.

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We use no patterns, no tracings.

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All we do is just sorta have

an idea in our mind and we just

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sorta let it, let it happen.

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And if you'll practice this a little

bit, very soon, you can enjoy the

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freedom of creating a painting right

on the canvas, right on the canvas.

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And to me.

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That's where it really becomes fun.

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It's when you can just literally create

a painting right on the canvas, as you,

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as you're working on it, you look at what

you're doing and you'll see things they'll

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just sort of happen and you learn to take

advantage of whatever happens and use

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it to you to make your painting special.

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And you can do that.

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Okay.

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Let's go back, get her old two inch brush.

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And I just want to now

blend all that together.

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Just blended together.

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I'm being careful not to

touch these top edges yet.

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I'm just winning the blue and

the white down here together.

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Very gently, still

little circular strokes.

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There we go.

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Just sort of let that mix together.

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I'm getting very close to the top, but

I'm trying not to touch it at this point.

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Very close with not touching

there a little bit up in here.

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Just sort of blend it, mix it

up just like you, like you're

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making a cake or something.

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Just mix it up little

bit in here, right there.

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Okay, go ahead.

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But this is a beautiful way.

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I just beat the breasts,

like at a knockoff XSP.

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It's a beautiful way to create

very effective, big fluffy clouds.

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Now we just started lifting it up.

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This will blend it all

together to smooth it out fair

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lately, two hairs in some air just gently,

gently, gently blamed the entire sky

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that we have a pretty nice looking little

sky and there wasn't anything to it.

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Let's get crazy.

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Let's take home.

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We use some midnight

black little oppression.

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Blue oppression.

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Blue is much darker than thalo blue.

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It's strong, very strong color.

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We'll put some Vandyke Brown little

lizard Crimson in there too, but

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we're looking for a very dark color.

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It should look black, pull it

out as flat as you can get it.

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Go straight down with the knife and we'll

just cut off a little roll of paint.

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There it is.

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It's right out in the air to the knife.

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Let's go up here now.

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I want, I want to make some tiny little

mountains up in here that are far away.

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I don't want these to be very big because

we want to create the illusion of death.

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It's here using a very firm

pressure, just literally pushed

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this or right into the ground.

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And I don't want, I don't

want a lot of mountains today.

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That's about all we need

with the two inch brush.

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Want to grab this and pull it?

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Yeah, it does two things removes excess

paint and it blends all this together.

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There we go.

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If I were painting mountains issue,

though, you always want the top of

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the mountain to be more distinct than

the bottom of the mountain, because at

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the bottom we have missed, and now we

have wonderful pollution and we have

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all these things that break up and

diffuse the light and it creates this

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softness at the base of the mountain.

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Let's go into a little

titanium, white, what the heck?

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Very small amount.

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Get a very, very small amount of payment

and the knife now that barely touch it.

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No pressure, no pressure.

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And I don't want this to be very distinct.

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I want this to be very quiet

subdued, far away, gentle, soft.

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Think about those.

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Types of words and stuff, when

you're painting and it'll help

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you, it'll help your hand and go

much more gentle, but very soft.

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Don't want a lot of detail in this

and we'll take a little bit of blue

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and white and just the indication of

some chef don't even want a lot of

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shadow back here, too much detail where

we're in that illusion of distance.

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Just enough, just enough.

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To give the feeling that there's a

nice mountain living back in there

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with a clean, dry brush, following the

angles, always follow those angles.

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It's done a very gently, very gently

tap it and then lift it upward.

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That'll help also create that illusion

of mist at the base of the mountain.

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Shoot, let's get crazy.

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Find another one inch brush, or you

can use your fan brush, whatever.

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Take a little bit more of the

titanium wine, maybe in our world,

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maybe this whole cloud right here.

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It just sort of dripped right

down in front of the mountain.

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Suggest a little white little

circles, tiny little circles.

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She would maybe this one right here.

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I don't know.

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I don't know.

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Just sort of look at your

painting and make a decision.

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Maybe it just sort of wraps

this old mill that would take.

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Two inch brush and just blend it together.

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This is a super way of making mountains.

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It looked like you're just

laying out here in the mist.

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I lived in Alaska for many, many

years, and you see some of the

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most beautiful scenery there.

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God was having a good

day when he made Alaska.

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Beautiful.

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Beautiful.

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See, I don't mountain just lays

appear in the midst and floats around.

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Has a good time all day now.

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Think we'll have some

little foothills back.

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I'd like to do a little foothills.

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We'll take some that same

mountain color had a least

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little touch of SAP green to it.

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Little SAP green.

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There we are.

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But it's predominantly blue.

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The one his father stayed away

here would make predominantly blue.

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Okay.

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Let me wipe the knife.

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Well, we not use, we use a one inch brush.

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What the heck you could use your

fan brush or two inch brush it.

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It doesn't matter.

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Load a little color in there.

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Let's go right up in here and

we have to make a big decision.

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Where does their little foothills live?

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Maybe we'll have one

coming right over here.

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We'll start this one out, back here,

just using the corner of the brush

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and pulling straight down gently.

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Maybe the little Foothill comes right

over, like we're here ever once again,

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this is a very individual thing.

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Painting is so.

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Just sorta look at it and make up your

mind how you want your pain to be.

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And then when you're doing foothills,

especially layers of foothills, you

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want a little Misty, are you in between?

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That's your separator?

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So take the brush two inch brush

and just tap the base of it.

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Or you can tap quite firmly.

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You can probably hear how, how

hard I'm hitting the canvas here.

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And then very lightly just

lift it up a little bit.

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There.

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Okay, now then maybe we'll have

several layers in here when you're

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doing landscapes, each layer,

each plane, as it comes closer to,

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you should get darker in value.

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So we use that same color and

I'll let, just add a little

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bit of that mountain color.

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See it's right here on this dad.

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Little led into it.

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That'll make it a little darker,

maybe a touch, more of the green.

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There we go.

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Okay.

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Now maybe over here.

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We'll hold a brush.

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Apply kiss.

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And that'll make tops that are a little

taller and a little more distinct because

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they're getting a little closer to you

there, but you can create this layer

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after layer, after layer like this, and

it enhances your painting tremendously

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because it creates that illusion of depth.

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Back to our two inch brush.

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And once again, once again,

we want to create that.

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See how that missed in between separates.

247

00:13:42,735 --> 00:13:43,515

Get your best for you.

248

00:13:43,695 --> 00:13:46,815

Take care of, take care of it.

249

00:13:47,535 --> 00:13:48,225

There we go.

250

00:13:49,515 --> 00:13:50,085

Now, lift up.

251

00:13:53,055 --> 00:13:54,945

Maybe I tell you what.

252

00:13:55,770 --> 00:13:59,940

Let's have one more, let's have one more

bedding, a little bit more of that dark

253

00:13:59,940 --> 00:14:02,910

color, right into that same original pile.

254

00:14:04,380 --> 00:14:05,010

One more.

255

00:14:06,720 --> 00:14:10,890

And then maybe it lives right

here, but it's darker in value.

256

00:14:12,000 --> 00:14:12,960

So a little darker.

257

00:14:14,355 --> 00:14:17,505

There we go, we'll let him come.

258

00:14:18,765 --> 00:14:19,814

Maybe right down here.

259

00:14:20,025 --> 00:14:20,445

I don't know

260

00:14:23,925 --> 00:14:29,255

there, but each layer, each layer

needs to get darker in value.

261

00:14:30,995 --> 00:14:33,425

Keep that feeling of

distance in the painting.

262

00:14:33,845 --> 00:14:36,965

And I know I repeat that over

and over, but it's so important.

263

00:14:38,525 --> 00:14:39,425

So important.

264

00:14:40,025 --> 00:14:41,555

You don't want just a flat old painting.

265

00:14:44,955 --> 00:14:45,885

Masterpiece here.

266

00:14:46,665 --> 00:14:49,785

You can do that once again.

267

00:14:49,845 --> 00:14:58,275

We're going to tap that base, just like

so very lightly lift it up right there.

268

00:15:01,625 --> 00:15:04,935

Maybe we're beginning to get down here

to where there are a few reflections.

269

00:15:04,935 --> 00:15:07,335

So we'll take a little paint

on the two inch brush, grab

270

00:15:07,335 --> 00:15:09,525

it and pull it straight down.

271

00:15:10,065 --> 00:15:16,425

It's most important that these reflections

come straight down most important.

272

00:15:17,385 --> 00:15:19,725

If you go to an angle like

this, it won't look right.

273

00:15:19,725 --> 00:15:21,825

See, even there, it doesn't look right.

274

00:15:22,625 --> 00:15:28,505

I very lightly go across very, very

lightly, just enough to blend it

275

00:15:28,505 --> 00:15:30,215

and give it a feeling of water.

276

00:15:31,235 --> 00:15:33,275

It's one of the nicest

things about this technique.

277

00:15:33,335 --> 00:15:37,035

It's instant reflections and.

278

00:15:38,025 --> 00:15:42,545

We'll take a little bit of liquid

wine, put the least little touch, the

279

00:15:42,545 --> 00:15:44,945

bright red, it just least little touch.

280

00:15:46,025 --> 00:15:48,515

Just enough to flavor it a little bit.

281

00:15:48,845 --> 00:15:54,155

Be careful because very quickly this

can get really intense and counter.

282

00:15:54,635 --> 00:15:55,775

Now it just cut across.

283

00:15:55,895 --> 00:16:03,245

So it has to go up here and we'll just

put in just the indication of a happy

284

00:16:03,245 --> 00:16:04,565

little waterline that lives here.

285

00:16:05,075 --> 00:16:05,735

And if you get one.

286

00:16:06,675 --> 00:16:09,765

That's maybe a little too strong or

too bright, just go back and rub it.

287

00:16:11,594 --> 00:16:14,025

The more you rub it,

the lighter it'll get.

288

00:16:14,114 --> 00:16:18,015

Cause it'll just be absorbed right into

the color it's underneath no big deal.

289

00:16:19,364 --> 00:16:23,535

And if you've painted with me before,

you know, without question that

290

00:16:23,535 --> 00:16:27,734

we don't make mistakes here, we

just have happy accidents, but you

291

00:16:27,734 --> 00:16:30,194

learn to use anything that happens.

292

00:16:32,355 --> 00:16:37,125

Maybe right there and little

ripples, but notice how all these

293

00:16:37,125 --> 00:16:38,865

lions are basically straight.

294

00:16:39,255 --> 00:16:42,215

If they're not, it's going to look

like your water's going to run rowdy,

295

00:16:42,225 --> 00:16:45,735

a painting and get your floor wet and

you'll have to tap bucket on one side.

296

00:16:46,635 --> 00:16:47,805

We don't want you to have to do that.

297

00:16:48,945 --> 00:16:52,665

Now, take one, clean off a little spot.

298

00:16:55,605 --> 00:16:59,205

Let's take, let's take

some black and blue.

299

00:16:59,715 --> 00:17:04,185

Brown Crimson, SAP green, all those

same colors, but with no white in

300

00:17:04,185 --> 00:17:08,744

it, it's very, very dark, very dark.

301

00:17:09,464 --> 00:17:12,555

It looks black on the palette there.

302

00:17:13,305 --> 00:17:13,605

Okay.

303

00:17:13,635 --> 00:17:14,595

Let me clean the knife.

304

00:17:15,704 --> 00:17:17,805

And I just wiped the

knife on old paper towel.

305

00:17:19,125 --> 00:17:20,085

I had a fan brush here.

306

00:17:22,125 --> 00:17:25,665

Let's take the fan brush and

go right in to that color.

307

00:17:26,670 --> 00:17:29,640

Load a lot of paint on

to brush both sides.

308

00:17:30,180 --> 00:17:32,370

Bristles are, it's a lot of pain in there.

309

00:17:32,640 --> 00:17:32,880

Okay.

310

00:17:33,120 --> 00:17:37,800

Let's go up here, maybe back in here in

our world, our lives while there does

311

00:17:37,800 --> 00:17:45,120

now, anybody there lives a happy little

evergreen tree and we just use the

312

00:17:45,120 --> 00:17:47,760

corner of the brush, just the corner.

313

00:17:48,330 --> 00:17:50,730

And as you work down the tree,

add more and more pressure.

314

00:17:50,730 --> 00:17:53,640

So the bristles bend

downward much, much more.

315

00:17:54,330 --> 00:17:54,720

Look at there.

316

00:17:56,175 --> 00:17:57,975

A nice way to make a

happy little evergreen.

317

00:17:58,185 --> 00:17:59,175

Let's give him a friend.

318

00:18:00,285 --> 00:18:00,855

You know me?

319

00:18:01,335 --> 00:18:05,205

I think everybody, everybody

should have a friend.

320

00:18:06,915 --> 00:18:09,165

Friends are so important here.

321

00:18:11,385 --> 00:18:12,255

All right.

322

00:18:12,615 --> 00:18:14,865

Maybe true food and our world.

323

00:18:15,615 --> 00:18:16,785

Maybe there's three trees here.

324

00:18:18,360 --> 00:18:20,250

You can put as many or as few as you want.

325

00:18:21,840 --> 00:18:24,659

The only thing that we would like to

teach you here is how to make a tree.

326

00:18:25,020 --> 00:18:27,149

You decide how many trees

you have in your world.

327

00:18:27,689 --> 00:18:30,300

Maybe we'll have some, maybe there's

a little reflection down here.

328

00:18:30,570 --> 00:18:32,100

Just put some general shapes.

329

00:18:32,699 --> 00:18:39,540

We're not looking for detail, not looking

for detail, just very basic little shapes.

330

00:18:40,439 --> 00:18:40,710

Shoot.

331

00:18:40,710 --> 00:18:41,070

Who knows?

332

00:18:41,070 --> 00:18:42,149

Maybe there's some land there too.

333

00:18:42,149 --> 00:18:43,679

You can just push up with a fan brush.

334

00:18:45,245 --> 00:18:51,105

Little bit down for the reflection

and let's take, we'll use old two

335

00:18:51,105 --> 00:18:56,445

inch brush and grab this, decide where

water and land beat and pull straight

336

00:18:56,445 --> 00:18:58,935

down once again, straight down.

337

00:19:00,135 --> 00:19:05,235

So I don't forget instant

reflections go across that.

338

00:19:05,235 --> 00:19:07,835

Easy that easy and see you.

339

00:19:07,845 --> 00:19:08,565

These are reflections.

340

00:19:08,565 --> 00:19:12,495

You can push them, see how you can

push them because the canvas is wet.

341

00:19:12,930 --> 00:19:13,680

You can do that.

342

00:19:14,399 --> 00:19:17,490

You can do anything here on this canvas.

343

00:19:17,760 --> 00:19:21,990

You have total and absolute

power unlimited power here.

344

00:19:23,370 --> 00:19:25,470

When I go home, only thing

I can do is take the garbage

345

00:19:25,470 --> 00:19:27,360

out, but here I can do it.

346

00:19:27,450 --> 00:19:31,110

Anything that I want to do, take a

little, the dark Sienna, a little

347

00:19:31,110 --> 00:19:35,850

white, get a little roll of paint on

the knife was put a little indication

348

00:19:35,850 --> 00:19:37,490

here and there a little tree trunk.

349

00:19:37,500 --> 00:19:39,270

It lives in these there.

350

00:19:40,379 --> 00:19:45,840

Don't want a great deal, retail,

just enough to just enough to

351

00:19:45,840 --> 00:19:47,430

indicate there's something in there.

352

00:19:47,670 --> 00:19:51,000

And you can just take the point

of the knife, just scraped through

353

00:19:51,000 --> 00:19:53,820

and make little lines and sticks

and all those little things.

354

00:19:53,820 --> 00:19:56,820

And then let me grab another fan brush.

355

00:19:56,850 --> 00:20:01,320

I have several of them going here and

let's take and go into a little yellow.

356

00:20:01,710 --> 00:20:05,580

I says, CAD yellow, a little touch

of that color that we made the tree

357

00:20:05,580 --> 00:20:07,020

out of, since it has blue in it.

358

00:20:07,530 --> 00:20:08,670

As soon as we touch the yellow.

359

00:20:09,655 --> 00:20:12,824

Turns beautiful green color,

maybe a little yellow ochre too.

360

00:20:14,205 --> 00:20:15,405

I want a dark green here.

361

00:20:16,215 --> 00:20:19,544

Once again, load the bristles

quite full with a lot of color.

362

00:20:19,905 --> 00:20:21,604

Let's go up here now.

363

00:20:21,604 --> 00:20:25,054

Then let's put some highlights

on these little trees.

364

00:20:26,195 --> 00:20:27,094

Don't want to overdue.

365

00:20:28,294 --> 00:20:32,975

If you put it too much, highlights

on here too many highlights, then it.

366

00:20:34,560 --> 00:20:35,940

Loses its effectiveness.

367

00:20:35,940 --> 00:20:40,440

We want these to be quite dark and

that's all there is to a darker,

368

00:20:40,440 --> 00:20:44,310

darker, darker, no, maybe down here,

there's some little grassy things

369

00:20:44,310 --> 00:20:49,530

that grow in this and you can just

make those by pushing up with a brush.

370

00:20:49,560 --> 00:20:51,420

That's all very easy.

371

00:20:52,830 --> 00:20:55,260

Now let's have some land under there.

372

00:20:55,350 --> 00:20:58,440

We need something to hold those trees

up so they don't fall over in the water.

373

00:20:58,710 --> 00:20:59,640

Make a big splash.

374

00:21:00,584 --> 00:21:04,004

They're a little band-aid brand

little dark Sienna mixed together.

375

00:21:05,294 --> 00:21:08,205

Like, so we'll take a little

touch of that Brown and white.

376

00:21:10,304 --> 00:21:11,655

Just make the indication.

377

00:21:12,905 --> 00:21:17,195

I have a little land there, a little bit

of the liquid white that we had leftover,

378

00:21:19,715 --> 00:21:21,875

and we'll just put in a little water line.

379

00:21:22,655 --> 00:21:24,814

This water line is your separator.

380

00:21:25,324 --> 00:21:27,004

It's a light between two darks.

381

00:21:27,765 --> 00:21:30,705

And that separates it and it

makes it makes it stand out.

382

00:21:31,395 --> 00:21:31,815

All right.

383

00:21:33,765 --> 00:21:34,125

Take away.

384

00:21:34,185 --> 00:21:35,595

What does she use this big brush, right?

385

00:21:35,595 --> 00:21:36,195

To have some fun.

386

00:21:37,205 --> 00:21:41,465

If you've painted, when, before, do

you know that I love to make big trees.

387

00:21:41,795 --> 00:21:42,455

So let's do that.

388

00:21:42,485 --> 00:21:43,895

I'll use a two inch burst today.

389

00:21:45,155 --> 00:21:46,475

I old two inch brush.

390

00:21:46,985 --> 00:21:49,955

So often we avoid this brush because

it's big and we're afraid of it.

391

00:21:50,345 --> 00:21:53,495

A lot of paint, wiggle, wiggle, wiggle.

392

00:21:54,270 --> 00:21:56,190

Then sharpen it just

like you would a knife.

393

00:21:56,220 --> 00:21:58,590

Look how sharp his brushes there.

394

00:21:58,590 --> 00:22:01,740

You can see very sharp case.

395

00:22:01,740 --> 00:22:06,360

Go up here now that maybe in our world,

there's a big evergreen tree right there.

396

00:22:06,960 --> 00:22:08,070

Just touch the canvas.

397

00:22:08,870 --> 00:22:10,280

Now we use just the corner.

398

00:22:10,879 --> 00:22:12,590

She has a quarter of the brush.

399

00:22:14,175 --> 00:22:15,915

Just go back and forth.

400

00:22:17,445 --> 00:22:20,925

It began laying in all of these

beautiful little lounges and stuff

401

00:22:20,925 --> 00:22:24,165

that live here on this tree there.

402

00:22:25,155 --> 00:22:25,545

Okay.

403

00:22:26,385 --> 00:22:26,865

Take your, what?

404

00:22:28,185 --> 00:22:29,285

We'll have another one.

405

00:22:29,305 --> 00:22:32,745

You knew that didn't knew.

406

00:22:32,745 --> 00:22:36,345

I'd have a friend out here, there.

407

00:22:38,774 --> 00:22:39,345

Okay.

408

00:22:39,855 --> 00:22:41,215

Now then let's have some.

409

00:22:41,685 --> 00:22:45,015

Maybe there's some big leafy trees,

not evergreens that live here.

410

00:22:48,225 --> 00:22:53,985

Let's just push in some foolish and

some nice leaf and branch shapes.

411

00:22:54,465 --> 00:22:54,855

Look at there.

412

00:22:56,605 --> 00:23:00,075

When you use a big production,

you can do this very rapidly.

413

00:23:00,075 --> 00:23:01,365

Now let's go on the other side.

414

00:23:02,205 --> 00:23:03,225

We need some over here too.

415

00:23:03,495 --> 00:23:05,685

Now you could do this with a

one-inch brush if you want it to

416

00:23:05,895 --> 00:23:07,905

work just as well, just as well.

417

00:23:08,475 --> 00:23:10,005

This is just a little bit faster.

418

00:23:11,534 --> 00:23:12,524

Little bit faster.

419

00:23:17,205 --> 00:23:23,504

Let me bring it right on down or you

have to start making big decisions.

420

00:23:24,975 --> 00:23:25,335

Okay.

421

00:23:25,395 --> 00:23:26,264

We'll just put there.

422

00:23:27,255 --> 00:23:28,515

Nice Bush there.

423

00:23:30,075 --> 00:23:31,335

Tell you what let's get crazy.

424

00:23:32,515 --> 00:23:38,055

Maybe, maybe it just goes all

the way across your world.

425

00:23:38,085 --> 00:23:39,825

You can do anything that you want.

426

00:23:39,825 --> 00:23:43,095

If you want this shrubbery and

wishes and trees to come all

427

00:23:43,095 --> 00:23:45,435

the way across and do it, do it.

428

00:23:46,755 --> 00:23:47,355

All right.

429

00:23:47,700 --> 00:23:52,710

Now then we can just take a clean

knife and just make the indication

430

00:23:52,710 --> 00:23:53,940

of little sticks and twigs.

431

00:23:53,940 --> 00:23:55,630

And that's by scraping just pointed out.

432

00:23:57,210 --> 00:24:00,000

We're going to cover most of those

up, but some of them will show.

433

00:24:00,210 --> 00:24:04,830

We can even use a little Brown, white come

right up in here, but the indication of a

434

00:24:04,830 --> 00:24:13,230

trunk, not a great deal of detail, just a

little bit lower here, because these are

435

00:24:13,230 --> 00:24:14,760

going to be deep in the old tree here.

436

00:24:14,760 --> 00:24:17,070

You're not going to see much

of them, but they're there.

437

00:24:18,300 --> 00:24:21,810

Now then let's take, we'll dip

the brush into a little of a

438

00:24:22,290 --> 00:24:24,240

liquid white one inch brush.

439

00:24:25,160 --> 00:24:26,120

We'll go right through.

440

00:24:26,330 --> 00:24:30,890

Oh, use a little CAD yellow,

grab some SAP green up here.

441

00:24:30,950 --> 00:24:31,580

There we are.

442

00:24:32,090 --> 00:24:32,270

Okay.

443

00:24:32,270 --> 00:24:36,020

I had yellow SAP green pull the brush in

one direction, load a lot of color in it.

444

00:24:36,440 --> 00:24:41,690

Let's go up here now then think

about all your little leaves and

445

00:24:41,690 --> 00:24:43,230

stuff here that would just shine.

446

00:24:44,145 --> 00:24:47,355

Oh, they would sparkle out here in

the sun under this big mountain.

447

00:24:48,675 --> 00:24:53,895

And when you're painting make up little

stories, think about the scene that

448

00:24:53,895 --> 00:24:55,305

you're painting become part of it.

449

00:24:55,635 --> 00:24:56,865

Make friends with a tree.

450

00:24:58,665 --> 00:25:04,215

You can just drop all this stuff in

and let it go darker, darker, darker.

451

00:25:04,215 --> 00:25:06,615

As you work down towards the base

of the tree though, darker, dark,

452

00:25:07,365 --> 00:25:09,525

add a little yellow ochre here.

453

00:25:09,525 --> 00:25:11,655

They're a little Indian, yellow sometimes.

454

00:25:13,155 --> 00:25:19,985

Just to change the flavor where

ever you want them to little touch

455

00:25:19,985 --> 00:25:21,305

of bright red, even here and there.

456

00:25:21,425 --> 00:25:28,655

It's up to you up to you there and

you choose even the time of year.

457

00:25:28,685 --> 00:25:33,905

Let's go in this other big tree over

here, maybe over here, their lives there.

458

00:25:33,905 --> 00:25:36,215

Live this big tree.

459

00:25:38,014 --> 00:25:40,925

Think about individual shapes

and form inside of this tree.

460

00:25:42,060 --> 00:25:43,470

Don't just throw it on like random.

461

00:25:43,500 --> 00:25:46,410

Think about, think about

the limbs inside the tree.

462

00:25:46,410 --> 00:25:49,590

They give it shape and form there.

463

00:25:51,990 --> 00:25:57,000

Darker, darker, darker down here

toward the base much darker.

464

00:25:57,510 --> 00:26:00,660

Let's have a Bush right here

that has red flowers on it.

465

00:26:00,750 --> 00:26:01,260

Look at that.

466

00:26:02,250 --> 00:26:05,370

See there just by putting a

little bit of red on the end

467

00:26:05,370 --> 00:26:07,140

of the brush, you can do that.

468

00:26:08,370 --> 00:26:09,330

Here lives another one.

469

00:26:09,945 --> 00:26:13,935

Just do one at a time, one at a time.

470

00:26:14,475 --> 00:26:15,375

There they go.

471

00:26:17,375 --> 00:26:17,825

Okay.

472

00:26:18,815 --> 00:26:22,355

Just wherever you want to shoot.

473

00:26:23,435 --> 00:26:24,125

I'm pretty nice.

474

00:26:29,315 --> 00:26:29,615

Okay.

475

00:26:30,095 --> 00:26:35,705

The other side over here, I'm we'll

put in some little blushes here and

476

00:26:35,705 --> 00:26:37,055

you can use the brush side words.

477

00:26:37,920 --> 00:26:40,860

Just push up and create

all kinds of little things.

478

00:26:42,500 --> 00:26:44,990

It's like, so, all right.

479

00:26:46,600 --> 00:26:47,570

Put a little path in here.

480

00:26:47,570 --> 00:26:48,710

He was a little bandaid Brown.

481

00:26:48,710 --> 00:26:50,000

We got to that's the second lift.

482

00:26:50,000 --> 00:26:50,780

So I'll throw that to you.

483

00:26:51,620 --> 00:26:52,460

You're Brown and white.

484

00:26:54,230 --> 00:26:58,460

Give us indication of a little

path and all we need to do is put a

485

00:26:58,460 --> 00:27:02,120

little Bush over the top of it and

set it right down into the painting.

486

00:27:03,320 --> 00:27:03,590

Shoot.

487

00:27:03,590 --> 00:27:04,790

I think we have a finished painting.

488

00:27:05,235 --> 00:27:09,045

But that I'm going to wish you happy

painting and God bless my friend.

489

00:27:09,045 --> 00:27:09,915

I'll see you next show.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S20E01 - Mysitc Mountain

Bob Ross's

The Joy of Painting

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FREE DOWNLOAD Bob Ross' The Joy of Painting Subtitles .srt Files FREE DOWNLOAD!

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