Bob Ross's

The Joy of Painting

S20E12 - Hidden Delight

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Hi, welcome back.

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Certainly glad you could join us today

because I thought today we'd just

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do a, a fantastic little painting.

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I think you'll enjoy.

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So let's start out and have run

all the colors across the screen

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that you need to paint along

with us while they're doing that.

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Let me show you what I've

got going up here today.

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And today I've got, I've got all three of

the mediums being used on this one canvas.

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Here we have in the top here, I

put a mixture of liquid white and

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liquid clear because I want to

have some transparency in this.

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If you don't have the clear, you can

just use white, uh, down here, I put

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the liquid black and I've just taken a

brush and sorta started up a little bit.

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And that's basically all that we've done.

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And by that, if everything goes well,

we'll just do a fantastic little painting.

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Let's start out today with a

touch of the yellow ochre, just

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a little bit of yellow ochre.

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Don't need much on the two inch

brush and let's go right up in here

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and we'll just put in a little.

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Just a little thing.

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Like, so here we are.

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Yeah.

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I'm going to add at least a little

touch of CAD yellow to the brush.

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So it gets a little bit brighter

and we'll come back in a minute

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and put white in there and brighten

that center up even more there.

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This one, the yellow color in here.

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Like that.

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And I'm just using little

crisscross strokes here.

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We are now without cleaning the brush.

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I don't touch little yellow

ochre and dark Sienna.

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So I have a nice brownish yellow color,

yellow, Brown color, whatever you want

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to call it, but a little bit of it.

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And we'll come right in here.

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Still using a little, the little

crisscross strokes, like, so get a

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little more of the paint and we'll go

on the other side and do the same thing.

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I like these little paintings

where it looks like the sun's

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going through from the back.

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They're very nice and very easy to do

with some of these mediums that we have

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a little more of that dark Sienna wanting

to get progressively darker as it works

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away from the light aggressively, darker.

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There we go.

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All right.

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Now I'm going to begin adding at

least little touch of Vandyke Brown.

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Not much, just a little, just a little.

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So it gets a little darker.

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And then it's going to pick up the

liquid black it's already here and

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automatically it's going to get

darker, but these mediums work for you.

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let me just pick up a clean brush.

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I've got several of each brush going.

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And let's go up from here

and just blend this together.

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Just really want to blend it together

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there and let these colors just.

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Go right to each other.

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The transition between colors, it

will be very smooth, very gentle.

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They won't distract the eye,

sort of looks like a big old

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egg for idea of the morning.

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I'm not much of a cook there.

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Time to clean the brush.

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And that's the fun part of this.

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That's the fun part.

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Here we go.

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Now that I'm going to take

that same old brush and go

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right into some titanium white.

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We don't need much, just

a little on the brush.

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Start here and begin working around

and around and around and around.

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We want this to be the brightest

spot in the sky, just work blended

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at it, and it worked outward.

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But don't go back into the

center with a dirty brush.

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You'll lose that nice glow.

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And we want to save that.

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You can even take a little pain

on your finger if you want it

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to then make the indication.

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Maybe there's a little

sun up here who knows.

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No, and then very lightly, very lightly

and just blend it all together, but

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it will give you the impression that

there's a little sun in the sky.

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All right.

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Yeah.

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Then today, as I say, let's just

have some fun and enjoy and let

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our imagination take us to some

beautiful places and see what happens.

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We got the breast clean.

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That's the most important part of it.

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Yeah.

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Then let's take that.

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Let's take some dark Sienna,

pick up a little of the titanium.

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White.

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Let me put a little black in there with

it there, go home and make sort of a,

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sort of a great with a little Brown in it.

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Whisk it.

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Nice.

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There let's get nice.

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Just sort of work it

back and forth to you.

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Find the flavor that you like.

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There, there we go.

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Let's try that.

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We will have a fan brush.

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This is a number six fan brush, or you

could use number three or whatever.

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It's up to you color on

the brush, both sides.

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We go up here and I want this to be

like little distant trees back in here.

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Let me add a little more

whites, a little brighter.

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And I wanted it to be okay.

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I want it to be a little more subdued.

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Oh, that's much better, much better.

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I'm happier about that.

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There maybe there's some little,

little trees that live back in there

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and all I'm doing is touching with

a fan brush and sort of pulling down

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or just putting down very gently.

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This is a super way of making

a lot of trees very rapidly for

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the indication of a lot of trees.

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They're sort of let it taper

right on off and did nothing.

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Now, then take a clean.

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Dry two inch brush.

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Just want to tap the base of this to

create that illusion of missed a lot

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of mist and very lightly, very lightly.

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If upper upbringing, can you go back to

the same brush, same old brush, and I

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want it to be just a little bit darker.

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So just load the brush up again.

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Same colors, just a little darker.

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Nothing maybe in our world their lives.

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Yep.

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You're right.

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Another little layer here.

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And this is, this helps

create that illusion of depth

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in your painting distance.

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Maybe it comes right on down

that cat phone up here somewhere.

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We don't even know where it goes there.

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And once again, Back

to the two inch brush.

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I don't want to tap the base of that to

help create that illusion of a missed tap.

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It just disappear

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very lightly, two hairs

and some air lifted up.

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Look at him amount of distance

we've created in that just by

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playing with the little color.

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All right.

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My clean off a spot to work here.

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We lay that over there out of

the way might need it later.

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Let's go into a little bit of the

black Vandyke dark scene, and I'll

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put just a little bit of white in it.

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Not much.

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I want this to be quite a bit

darker, maybe a little more though.

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There we go.

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There, it makes it a very nice color, but

it's sort of toward the dark Sienna color.

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And that's what we're sort of looking for.

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Oops, let me get a bigger fan.

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Brush goes a little faster,

picked up the number three, and

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I think I'll use the number six.

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Number three would work just as well.

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They're just that I want

to go a little bit faster.

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So we'll use this one.

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We'll drop in indication here and there.

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If some happy little evergreen

trees, these are closer.

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So you see a lot more detail.

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Let's see how that darker color

stands out against that light.

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Just sparkles sparkles.

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Maybe, maybe there's

some little indications.

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I don't know.

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Maybe they come right on down my cab.

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See a few more little indications

behind those trees there.

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We see some detail in.

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Let's have a few on the other side too.

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I don't want that side left out.

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Maybe she, maybe there's a big

one right there, but the same

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way to use a corner of the brush.

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Did you work down in three

push harder and harder?

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Just to add more pressure, like the

bristles been down much more look at that.

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You can do that.

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There we go have another one.

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Should we just painted

the whole forest here?

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And that's all right.

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That's all right.

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Put as many or as few in your world

as you want, because paintings is very

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individual, everybody, and everybody's

going to see this differently.

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And that's the way it should be.

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And it's the way it should be there.

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Maybe I know let's have

one more over here.

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We'll have one more than middle levels

right on out now, sometimes it's

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interesting to show different depths.

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Maybe I'll add more black to that.

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Maybe back in here, you can

see a few more back in there.

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Fair.

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Yeah.

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Let's let them sort of fade in there

and we'll, we really do have a forest.

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Okay.

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Now, once again, two inch brush.

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I want to create that

illusion of nest all.

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Let me show you a trick.

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Let me show you a trick.

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Let me show you, let

me show you just a saw.

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So I get excited sometime, please.

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Excuse me.

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I see you here.

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If you wanted to take these trees

right here and push them farther back.

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Let me put some mist and we'll take,

let's just strengthen this tree here

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a little bit because of that missed

is there, watch here, watch here.

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The cat, push that tree

back just by doing that.

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That's a little trick that helps

show distance at a painting.

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That mystique is so important.

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Now, when we create the mist here,

we don't want to destroy that edge.

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We just want to tap in here,

let them blend together.

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Look it there though.

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But look at the layers in there.

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Now, when you're doing your painting.

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Look at these things, pick them

out, make them work for you.

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Shoot.

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But they're lazy if you don't,

if you don't find them, enforce

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them a little bit, they'll just

lay there and sleep like me.

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Even the alarm clock

goes off in the morning.

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Same thing over here.

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We'll just let that blend

Ray just about nothing.

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In fact, I'll put a

little color on the brush.

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Maybe there's maybe there's

a big tree lives right here.

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I don't know.

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Nice little bushy thing is back in here.

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Add a little bit more

of the dark color there.

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Let's see.

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Each layer gets darker and look

at the amount of distance in

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this little painting already.

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There's so many planes in

there and these little planes

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are what create that illusion.

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And they're really not hard

to do really not hard to do.

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They're just work on one

level at a time though.

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And sometimes we get in a hurry

because it starts to work real well.

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It feels good.

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And we just want to.

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You know what I'm saying?

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We get carried away.

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And if it has happened to you, if you've

painted, it certainly happens to me.

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I start seeing all these

different things and.

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Next thing.

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I know I'm out in left field somewhere.

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I'll put one here too.

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What the heck?

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Maybe, maybe, maybe there I go with it.

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Maybe again.

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Maybe we have, yep.

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I think it is a little Bush

lives right there, right there.

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See, just you see these

things and you drop them out.

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Now that we can take her knife,

sort of make the indication here

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and there some little trucks.

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I don't want these to be too

distinct, too far away, too subdued,

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but you can see a few little things

here and there and we can take it.

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Same old brush has a colored.

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I'm going to add the least little touch

of maybe some yellow ochre, a little

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bright red to at least a little touch.

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I don't want much color on the brush.

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Very small amount.

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And I just here and there, I want to

pop in a little that color to make

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it look back as a little highlight

on some of these, but it's real easy

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to overdo here too much will distract

and you'll lose that softness.

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And that's one of the things

that's so great about using the

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liquid black that liquid black will

always make things look very Misty,

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very soft because it grays color.

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It adds a gray color.

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Let's see here.

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Find had brush.

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We'll just use the same old brush.

254

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What the heck into a little touch

of the yellow ochre, all the

255

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yellows and Daniella be right back.

256

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Don't go away.

257

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Get a little white.

258

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Nice.

259

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I want a bright one right here.

260

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If our son's right there and

shining down, look at there.

261

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I want a sparkler.

262

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Light's going to strike that.

263

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It's really going to be pretty.

264

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There we go look at all those beautiful

little colors, maybe right there.

265

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Put a nice little red color near that.

266

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It just worked its way back.

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Just using the corner of the brush.

268

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That's all you need to

really all you need.

269

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I want to take a little paint thinner and

go into some Vandyke Brown here and there.

270

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We'll put the indication

of a little tree trunk.

271

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Some little sticks and twigs and all

those little things that live in there.

272

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Maybe back here, we can see some things

old, dead tree, maybe wherever, wherever

273

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there's one, that's an old crooked.

274

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He would once a crooked.

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Okay.

276

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Tell you what let's do.

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Let's get crazy here.

278

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Let's get crazy and have some fun.

279

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Maybe there's a little house that's here.

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You know, me, I liked

little houses and big trees.

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That's that's my thing.

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If you don't want a house in yours,

don't put it in every once in a while

283

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I get a letter from somebody said, I

didn't want a house in that painting.

284

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You have that, right?

285

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When you do yours, do it

any way that you want it.

286

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There, we get a lot of letters from

people all over the country were

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painting and doing fantastic things.

288

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The photographs of people send

me sometimes it's almost unreal.

289

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But people are doing such beautiful

paintings and every so often we like to

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put them together and show them here.

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So send me a photograph of what

you're doing, share with us,

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and we'll share it with a TV

audience and let everybody see it.

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If you don't mind, if you don't want

it shown on TV, if you send a picture,

294

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just like, so we'll respect that.

295

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There let's go right here.

296

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She was a little bit of this Brown

and sort of decide where we want

297

00:16:50,715 --> 00:16:53,895

everything to live, touch, to pull.

298

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All we're doing blocking in

color, get some dark on there.

299

00:16:58,890 --> 00:17:01,630

So our light will show,

maybe it comes down.

300

00:17:01,630 --> 00:17:04,710

My, maybe it maybe it's got a

longer roof on the other side.

301

00:17:04,800 --> 00:17:11,960

See some old houses are

like, had just like, so yeah.

302

00:17:12,470 --> 00:17:14,359

And Oh, we had that Brown there.

303

00:17:14,359 --> 00:17:17,210

We can just block in some sides and front.

304

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Maybe, maybe this is a, I dunno, what

kind of building is, maybe it's no barn.

305

00:17:25,425 --> 00:17:32,165

You decided you could make a little

house or barn, whatever five ever.

306

00:17:35,915 --> 00:17:41,435

Now we'll take some why a little bit of

that Brown color and just mix it together.

307

00:17:43,775 --> 00:17:49,415

There we are something like, so kind

of soft, a little roll of paint, touch.

308

00:17:52,875 --> 00:17:55,365

So you just go down like that,

but you gotta make that little

309

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noise or it doesn't work.

310

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And our light's coming from here soon.

311

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So that'll be the

brightest side, same color.

312

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I'll add a little dark

Santa Vandyke Brown to it.

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Same color though.

314

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Same color.

315

00:18:10,595 --> 00:18:15,095

There I go with that noise again,

really some reason maybe it's the

316

00:18:15,095 --> 00:18:18,515

exhaling of air or something, but

it's, it really does seem to make

317

00:18:18,515 --> 00:18:21,515

it work a little better there.

318

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Very gently create the illusion of a

old building now than an old building.

319

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Let's have some boards, we'll take

some Vandyke Brown hair, just a

320

00:18:36,330 --> 00:18:41,370

small role and just touch touch.

321

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Say there, create the

illusion of some boards.

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One a few on this side, there they are.

323

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There they are.

324

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Let him go.

325

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Let him go.

326

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I have one building here in a minute.

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We'll take our two inch brush

and only one hair in some area.

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Just barely caress.

329

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Barely.

330

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Just barely, just barely though.

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If you want to smooth it out,

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S20E12 - Hidden Delight

Bob Ross's

The Joy of Painting

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