Bob Ross's

The Joy of Painting

S22E01 - Autumn Images

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Hello, I'm Barbara Ross.

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And I'd like to welcome you to

the 22nd joy of painting series.

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First of all, let me thank

you for inviting us back for

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another series of painting shows.

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And if this is your first time with us,

allow me to give you a personal invitation

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to drag up your paints and, and spend

a relaxing half hour with us as we put

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some on nature's masterpieces on canvas.

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So I'll tell you what,

let's start out today.

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Having run all the colors across

the screen that you need to

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paint along with us at home.

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And while they're doing

that, come on up here.

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Let me show you what I've got done already

have a 18 by 24 inch canvas, but you

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use whatever size is convenient for you.

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And this is a pre stretched

double prime canvas.

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And I've covered the entire canvas

with just a thin even coat of liquid

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white and the liquid whites on

there only to make the canvas wet.

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It makes it slick.

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It allows us to actually blend the

painting on the canvas rather than working

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ourselves to death here on the pallet.

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So I tell you what, let's grab

an old brushing let's hit.

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Let's just have some fun today.

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And we'll start today with two

inch brush will go into a small

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amount of the Prussian blue.

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This is a very strong color.

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It takes very, very little

paint, just pull a little out and

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then tap the bristles into it.

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And I'm going to retry it here and

get a little bit of the midnight black

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and just sort of mix them together.

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So we have black and blue

or blue and black, whatever.

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You're, let's go right

up here to the canvas.

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Now, then in doing landscapes, normally

you want the whole thing to be darker.

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At the top and then lighter toward

the horizon and by starting at the

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top and making little crisscross

strokes, allowing the color to blend

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with the liquid white that's on the

canvas, that will happen automatically.

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It's very easy.

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Just like, so.

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But just make little Xs, little,

little crisscross strokes to

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allow that color to blend there.

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If you were working on a drag

canvas, this would be very difficult,

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but since this canvas is wet and

you're continually blending color,

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it's very simple, very simple.

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This is truly the lazy

man's way of painting.

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There we go.

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And I think I'll have some big

fluffy clouds in this one today.

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So I'm just going to leave

an area sorta open here.

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And that's where my clouds will live.

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All right.

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Would come down.

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Oh, I don't know.

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Maybe two about like, they're just sort

of let it cap and don't worry about it.

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If you paid with me before, you know

that we don't make mistakes, we just

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have happy accidents because very quickly

you can learn to work with anything.

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It happens here.

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They kind of have a little water in there.

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So while I haven't seen cover on

the brush, Just pressuring blue and

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midnight black, just going to put in a

little indication of some water here.

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I'm going to put a little more color

on my brush, make it a little darker.

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There we go.

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All right.

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But both from the outside in

and leave an area open here.

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If everything works just right.

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That'll, that'll look like a little chain

of light coming across the water and it

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would certainly enhance your painting.

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But I'm more of the color would go

on the other side, do the same thing,

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but pull it from the outside and

see if you start here and go across

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liquida, horrible line to get here.

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And then you have to really

work to blend that out.

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So start from the outside.

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He pulled toward the, toward the

center or wherever you want your

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little light sheen to be here.

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Hmm.

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Kate, let me wash the old brush.

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That's the fun part of

this whole technique.

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Of course they don't think so around

the station here, because I've

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covered everything as you will see the

paint thinner shake off the excess.

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And just beat the devil out of it.

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Okay.

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Now with the clean brush, we

can just go across here and

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blend all this together there.

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Let's see that light spot

still remains in there.

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It's not very distinct, but

it's strong enough to indicate

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what we're trying to show.

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I mean, we can bend the sky.

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And I don't want to over blend it.

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I like to have little

areas that show variation.

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So it's just not a flat dead sky,

but in your painting, you sort of

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look at it and you decide how you

want it and you step back and take

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a look, see every once in a while.

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So you can see it from a distance.

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There we are.

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If you back up and look at your painting,

it's much easier to see sometime when

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you're standing this close to it.

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It's sort of difficult to, to see.

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They went, let's use

a one inch breast day.

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I'm going to make a happy little

cloud up here in the sky for them.

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Let's take cheers, titanium

white, and I'll be right back.

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Don't go away a little bit of the

bright red, very small amount though,

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but a little sunshine on this cloud.

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Can you let's go up here now.

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Okay.

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Very gently.

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And all we're doing is just

sort of tapping the canvas.

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Just let the corner of the breast

touch and begin thinking where your

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little cloud would live in your world.

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And this piece of canvas is your world.

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And on here, you can do anything

that your heart desires, you can

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create any illusion that you want

here can find peace and tranquility

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here, or you can make big storms.

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It just, just depends on what

your mood is that day they're

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painting a sort of a way of.

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Capturing a second of time and a mood

putting it on canvas and maybe a hundred

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years from now, somebody will look

at your painting and they'll they'll

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know that you had a fantastic day.

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And then on this day, you, you truly

did experience the joy of painting.

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There we are just sort of let these

little things just work around, have fun.

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Let them play.

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Clouds are very free.

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They may be one of the

freest things in nature.

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They just sort of float around

this guy and have a good time.

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There we are.

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Okay.

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I'm going to go back to a two inch brush.

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Be sure it's good and dry and very

carefully just going to take the corner of

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the brush, the top corner and just go in

little tiny circles, little tiny circles.

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I don't want to touch a top

edge, a pair at all yet.

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Very gently.

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This is two hairs in some air.

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Just whisper light, whisper light,

because you can destroy these little

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things that you've made in here.

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Very easy, very light, barely

touching, very gentle caress it.

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There we are now.

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Okay.

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I just beat the breast to knock

off any excess paint, a very

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lightly, we can fluff this cloud.

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We can lift it, but this

is a very gentle touch.

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Just barely lifting upward that

you can see how that clouds

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beginning to fluff up there.

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And then very lightly.

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One hair and some air just go across

and it takes out all the little tap

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marks brings everything together.

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It makes some of the most

fantastic clouds you've ever seen.

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And it's very simple.

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All right, shoot.

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We got a nice little cloud there.

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Now that maybe today.

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Tell you what?

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Let's build a very simple little mountain

and everybody seems to like mountains.

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So let's, let's make us one, we'll

take some black, some pression

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blue and get a little fan diaper.

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What the heck?

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Maybe I'm a little lizard.

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Crimson.

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Just good dark color there.

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Okay.

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Now pull it out as flat as you can get it.

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Take the knife cut across and get a

little reel of paint and it should live

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right out on the edge of the knife.

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You can see how it's read

out on the edge there.

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Okay.

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Let's go up here now.

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Then you have to make a major decision

come right up here that you have to decide

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in your world or your mountain lives.

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Maybe.

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It lives right here.

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And you can make any kind

of mountain that you want.

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It's up to you.

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And up to you, we'll just, we'll

make something maybe today that

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maybe it sort of resembles the

Teton Sur mountains in that area.

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Tee times have a, they have a lot of

little points on them, little jagged,

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ragged things, and that's what we'll make.

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But you could make a mountain.

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It's very smooth.

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It's totally up to you.

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Once again, painting is

a very individual thing.

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That's the reason we use no patterns

or no tracings, because then you're

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just painting somebody else's thing.

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I want to teach you to make a world

that belongs only to you, and it's

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unique to you and your personality.

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Okay.

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Now we'll take a two inch brush

and I want to grab this paint and

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politics, and there's two things.

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Maybe the most important one

is it removes excess paint.

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So the next layer will stick much easier.

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But it also creates this nice

Mysterio at the base of the mountain.

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And mountains are always more distinct

on the top than they are on the bottom.

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If you can see the entire mountain,

because there's a mist and now we

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have wonderful pollution that hanging

around down here at the bottom and

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it breaks up and diffuses light.

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So that's why you have a Misty.

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Misty look at the base fountains.

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All right.

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And by using brush strokes, when

you pull this, I hope that'll show

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up, but you can literally lay out

all your highlights in the shadows.

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Can you see what's happening

without being committed?

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It's sort of a sneaky little way of

seeing what your mountain going to

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look like before you paint it, but

you can lay out everything that easy.

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Then let's just take a, we'll just use

that same old titanium white right here.

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Pull it out once again, as flat

as you can get it cut across

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in our little roll of paint.

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So let's do that one more time.

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Cause that's so important.

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Pull it out flat, cut across a

little roll of paint that easy.

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Let's go up here now.

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Then you have to start

making some big decisions.

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Where does the highlights

live on this mountain?

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Maybe somewhere redlined home here.

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No pressure, no pressure,

three hairs and nowhere.

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It's that easy.

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I've mentioned before another shows.

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When I was teaching my son, Steve to

paint, I used to tell him just pretend

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you're a whisper floating right across the

mountain, and you're not even touching it.

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You're just, you're just

floating right across there.

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There.

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Let's see how you can create all kinds

of little things, anything that you want.

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You just decide where these

little things live in your

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world and just barely touching.

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And you want to paint a break like this.

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That's what makes all those

beautiful little, little

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things that you see in there.

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And it happens automatically.

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All you have to do is

learn to make the knife.

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Barely, barely touched the canvas gently.

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We receive a lot of letters.

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One of the things that I hear

over and over again is people

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are having trouble doing this.

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Normally you can equate

it to one of two problems.

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First of all, the paints too, we use

a very firm dry paint, much firmer

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than traditional oil painting paints.

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Secondly, The pressure

that you're applying.

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If you apply too much pressure, it's going

to look just like your ice, the cake.

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And we're not looking for that.

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We want to have all those

nice breaks in there.

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So it's, so it's very pretty.

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And people won't believe

what you did everyday.

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I get letters from people and they

say, they've watched the show and

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they've tried it and it's working and

they take the paintings and they show

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it to friends, relatives, and they

don't believe that they painted them.

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That's always wonderful to hear.

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For a little shadow here.

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I'm taking a little pressure and blue

and white and just mixing it together.

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Once again, you can even use a small edge.

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I see him pull out a little roll of

paint or you can use a small knife.

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Whichever is convenient for you.

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We have two different size knives.

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So pick out the one that you like

and go back in here now and begin

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putting in some little shadows.

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I want this to remain quite dark.

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I don't want to get too

much going on back here.

249

00:12:28,415 --> 00:12:30,395

These areas are deep and shadows here.

250

00:12:32,195 --> 00:12:32,825

There we are.

251

00:12:34,120 --> 00:12:36,580

But this is where you begin

forming all these little things.

252

00:12:38,020 --> 00:12:41,010

This is where the little mountain

goat lifts right up in here.

253

00:12:42,960 --> 00:12:46,110

He needs a little place to call

home too, just like the rest of us.

254

00:12:48,450 --> 00:12:54,990

And you have to take care of gospel

creatures there, maybe over in here,

255

00:12:59,460 --> 00:13:02,570

wherever sort of let your imagination go.

256

00:13:03,230 --> 00:13:05,650

And you can come right along here in

any place you want to show a little.

257

00:13:06,725 --> 00:13:11,225

The break in here, you just put a little

shadow and automatically it'll happen.

258

00:13:12,785 --> 00:13:15,995

Let's take another good

clean, dry two inch brush.

259

00:13:16,085 --> 00:13:18,185

And I want to create mist at

the base of this mountain.

260

00:13:19,055 --> 00:13:22,865

So all you need to do is tap, but

follow these angles with new tap.

261

00:13:22,895 --> 00:13:23,375

Don't just.

262

00:13:23,819 --> 00:13:26,970

Chop across it'll look like it looked

like somebody took a big razor blade

263

00:13:26,970 --> 00:13:33,120

and cut your mountain off, just tap

and then gently lift upward the same

264

00:13:33,120 --> 00:13:35,400

angle that the mountain flows here.

265

00:13:35,699 --> 00:13:36,480

Same angle.

266

00:13:37,439 --> 00:13:40,380

It'll create a beautiful, soft Misty

effect right at the base of it.

267

00:13:40,400 --> 00:13:40,939

Your mountain.

268

00:13:43,010 --> 00:13:44,060

Okay, shoot.

269

00:13:44,060 --> 00:13:45,829

I can get a pretty good looking

little mountain there too.

270

00:13:47,849 --> 00:13:48,359

All right.

271

00:13:48,390 --> 00:13:52,109

Let's let's take, let's take

the old round brush today.

272

00:13:52,890 --> 00:13:54,900

I'm want to use that same

basic mountain color.

273

00:13:54,900 --> 00:13:58,770

We had Prussian blue and

black little lizard Crimson.

274

00:14:01,560 --> 00:14:03,829

I think we had some Vandyke Brown, which

I'm going to reach bigger up Peggy,

275

00:14:03,849 --> 00:14:05,339

little SAP green, and put in there too.

276

00:14:06,300 --> 00:14:09,839

Let's start making some foliage lives

back here in front of this mountain.

277

00:14:10,834 --> 00:14:14,194

Well, the old round brush here, we could

just take it and just begin tapping.

278

00:14:15,545 --> 00:14:21,135

Just decide basically where you

want these things live there.

279

00:14:21,145 --> 00:14:22,435

Maybe there's a bigger one right there.

280

00:14:22,464 --> 00:14:24,084

Big, strong one this right up there.

281

00:14:25,135 --> 00:14:28,765

Wherever you have to make big decisions.

282

00:14:30,084 --> 00:14:30,895

There they go.

283

00:14:31,555 --> 00:14:32,665

A little bit more in the color.

284

00:14:36,220 --> 00:14:36,790

All right.

285

00:14:37,690 --> 00:14:41,680

Maybe, maybe there's a big tree

here on the side, but just sort

286

00:14:41,680 --> 00:14:43,000

of let your imagination go.

287

00:14:43,610 --> 00:14:43,900

Thank you.

288

00:14:44,700 --> 00:14:49,270

If you retreat, where you'd

like to live this tree.

289

00:14:49,870 --> 00:14:51,400

He lives right here in

front of the mountain.

290

00:14:52,240 --> 00:14:54,100

He has one of the prettiest views.

291

00:14:54,730 --> 00:14:57,550

He looks out over this

mountain and watches, watches.

292

00:14:57,550 --> 00:15:00,640

Everything happened sometimes.

293

00:15:00,790 --> 00:15:03,460

Sometimes you get carried away and

these trees just keep growing on you.

294

00:15:04,180 --> 00:15:04,689

That's all right.

295

00:15:05,470 --> 00:15:06,280

This is your tree.

296

00:15:06,850 --> 00:15:12,970

So you make it anyway that you want

any way that you want in your world.

297

00:15:12,970 --> 00:15:13,900

You can have anything.

298

00:15:15,450 --> 00:15:17,790

Anything there,

299

00:15:22,260 --> 00:15:25,380

maybe somewhere in there we

don't care at this point.

300

00:15:26,060 --> 00:15:30,630

I see him except a little more color,

black blue, some Brown, middle Crimson,

301

00:15:31,710 --> 00:15:34,590

but Alyssa green ran out of color.

302

00:15:36,645 --> 00:15:44,255

There now that maybe in our world

we'll handle, let's get crazy.

303

00:15:45,275 --> 00:15:46,564

Maybe there's another tree over here.

304

00:15:48,035 --> 00:15:49,505

That'll sort of block everything in.

305

00:15:51,905 --> 00:15:55,175

It makes sort of a nice composition that

we have to force your eye to go in here

306

00:15:55,175 --> 00:15:56,555

and look at this mountain when we're done.

307

00:15:58,469 --> 00:15:59,520

You got a little hair there.

308

00:16:00,030 --> 00:16:02,939

You get a little hair, just use a corny

of brush and lifted off the canvas.

309

00:16:03,810 --> 00:16:04,500

No big deal.

310

00:16:04,560 --> 00:16:08,880

These brushes are natural

bristles, so they do shit there.

311

00:16:10,650 --> 00:16:11,520

Do you get those out?

312

00:16:13,454 --> 00:16:14,145

All right.

313

00:16:17,074 --> 00:16:20,055

Maybe, maybe we'll have some

reflections in our water.

314

00:16:20,055 --> 00:16:22,395

So I had to do was just bring

some of this color right there.

315

00:16:23,805 --> 00:16:24,584

Just let it go.

316

00:16:26,145 --> 00:16:27,135

Something like that.

317

00:16:28,155 --> 00:16:30,704

If we have a tall tree on this

side, then we're going to have

318

00:16:30,704 --> 00:16:32,295

very long reflections in the water.

319

00:16:37,785 --> 00:16:38,204

Okay.

320

00:16:38,204 --> 00:16:40,335

Now, I had to make a big decision.

321

00:16:40,335 --> 00:16:46,185

Where is water and land meet somewhere

right in here in my world there.

322

00:16:46,755 --> 00:16:48,825

So just, just begin pulling us down.

323

00:16:49,155 --> 00:16:52,965

We don't know exactly what's going

to happen, but somewhere in here

324

00:16:52,995 --> 00:16:54,315

we'll have all this coming together.

325

00:16:54,825 --> 00:16:58,635

It doesn't really matter at this

point that very lightly go across.

326

00:16:59,810 --> 00:17:04,160

And that'll create the illusion of instant

reflections in your water that easy.

327

00:17:05,930 --> 00:17:09,020

Now I have several of each brush going,

let me pick up another little round

328

00:17:09,020 --> 00:17:13,069

brush here and with it, let's put some

nice highlights and I will take a little

329

00:17:13,400 --> 00:17:15,140

caddy, yellow, little yellow ochre.

330

00:17:15,440 --> 00:17:20,599

We'll be right back on, pick up a little

SAP green, but mix these colors on the

331

00:17:20,599 --> 00:17:23,900

brush and that way you have a multitude

of things happening in that brush.

332

00:17:23,930 --> 00:17:25,069

Look at all the different.

333

00:17:25,454 --> 00:17:26,564

Tones and colors.

334

00:17:27,254 --> 00:17:28,995

I don't know if you could ever mix that.

335

00:17:29,745 --> 00:17:35,235

If you just, haven't tried to mix each

one individually, let's go up in here.

336

00:17:36,495 --> 00:17:39,074

And I just want to put a little

indication of some little things.

337

00:17:39,945 --> 00:17:41,534

It's a little highlights on these trees.

338

00:17:41,534 --> 00:17:43,095

Just tap up all you gotta do.

339

00:17:43,980 --> 00:17:46,710

Just tap it, but think

about form and shape.

340

00:17:47,580 --> 00:17:48,870

Don't just hit it random.

341

00:17:49,680 --> 00:17:53,370

Think about where the light would

play through here and all these

342

00:17:53,370 --> 00:17:55,320

little things with chain and sparkle.

343

00:17:58,350 --> 00:18:02,010

One, these are just a

little background trees.

344

00:18:04,524 --> 00:18:05,064

Okay.

345

00:18:05,155 --> 00:18:11,635

Mary lives right there, and it helps to

make up little stories about your scene.

346

00:18:12,864 --> 00:18:16,425

Give it, give you little characters,

personalities, and then they become

347

00:18:16,425 --> 00:18:18,764

individuals to become very special.

348

00:18:19,425 --> 00:18:23,125

Becoming friends when add a

little bit at the end in yellow, a

349

00:18:23,125 --> 00:18:24,375

little bright red here and there.

350

00:18:24,824 --> 00:18:27,945

When we give this a little,

little indication that maybe

351

00:18:27,945 --> 00:18:29,395

Jack Frost has been through here.

352

00:18:30,104 --> 00:18:30,195

Okay.

353

00:18:30,364 --> 00:18:35,915

Had a good day and thanks and

beginning to change colors there.

354

00:18:36,784 --> 00:18:39,155

And you can get as wild with

autumn scenes as you want.

355

00:18:39,155 --> 00:18:42,635

There's some of the most beautiful

reds and goals in nature.

356

00:18:44,975 --> 00:18:50,425

There we are a little more

than SAP green, little Canyon,

357

00:18:50,425 --> 00:18:54,455

yellow, maybe big tree here.

358

00:18:56,675 --> 00:18:58,504

Think about individual things in there.

359

00:18:59,120 --> 00:19:02,300

And once again, this is just going

to end up being a background tree.

360

00:19:02,300 --> 00:19:06,830

I think I'm gonna put some things in

front of it, but you want to make it look

361

00:19:06,830 --> 00:19:11,360

pretty good because a lot of it's going

to show through and people think you work

362

00:19:11,360 --> 00:19:14,960

for months trying to get in there and

put all those little, little individual

363

00:19:14,960 --> 00:19:18,470

things in there and we don't tell them

any different that's that's our secret.

364

00:19:19,585 --> 00:19:20,575

That's our secret.

365

00:19:23,475 --> 00:19:25,545

A lot of people will never

believe you could paint this much

366

00:19:25,575 --> 00:19:31,035

detail using the big, old, crazy

verse like it, but you even,

367

00:19:35,445 --> 00:19:37,935

you can do anything as long

as you believe you can do it.

368

00:19:39,275 --> 00:19:41,855

You know, and it helps to be mentally.

369

00:19:41,855 --> 00:19:44,615

When you, when you decide you're going

to paint a picture painted mentally

370

00:19:44,645 --> 00:19:48,485

several times and get the stroke

sort of worked out in your mind, know

371

00:19:48,485 --> 00:19:53,585

what you want before you start have

a general idea of what you want, but

372

00:19:53,585 --> 00:19:55,295

do it mentally, just like athletes.

373

00:19:56,015 --> 00:19:57,905

They psych themselves up before big event.

374

00:19:58,145 --> 00:19:59,645

You can do that for painting too.

375

00:20:03,355 --> 00:20:03,655

Maybe.

376

00:20:03,975 --> 00:20:04,574

Maybe over here.

377

00:20:04,574 --> 00:20:09,635

We'll put a nice little sparkler

before we go too far here.

378

00:20:09,645 --> 00:20:11,024

I better decide what we're going to do.

379

00:20:12,524 --> 00:20:14,865

I'm going to put some nice

little free trunks back in there.

380

00:20:14,865 --> 00:20:20,625

So we'll take some paint, thinner paint,

and just use some Vandyke Brown for that.

381

00:20:20,625 --> 00:20:22,155

Maybe a little dark Santa mixed with it.

382

00:20:22,165 --> 00:20:25,425

Give it a little little flavor,

but this paint should be very thin.

383

00:20:25,485 --> 00:20:26,504

Almost like ink.

384

00:20:27,495 --> 00:20:28,485

This is a script liner.

385

00:20:28,485 --> 00:20:32,385

Brush holds a lot of paint,

but it needs to be very thin.

386

00:20:32,385 --> 00:20:32,955

Let's go up here.

387

00:20:34,275 --> 00:20:37,155

Maybe maybe, maybe, maybe, yep.

388

00:20:37,215 --> 00:20:41,865

Right here lives a big old, strong

tree, a little more of the paint

389

00:20:41,865 --> 00:20:46,245

center, load the brush full again,

but let the brush wiggle and jiggle.

390

00:20:46,875 --> 00:20:52,065

So it's just not a Plano straight

telephone pole looking tree.

391

00:20:53,025 --> 00:20:58,005

I sort of liked for trees

to have character there.

392

00:20:58,065 --> 00:20:58,995

Be individuals.

393

00:20:59,865 --> 00:21:00,045

Okay.

394

00:21:00,449 --> 00:21:03,419

I don't want all my trees to grow

up and be just telephone poles.

395

00:21:05,179 --> 00:21:05,840

There we go.

396

00:21:06,379 --> 00:21:06,469

Okay.

397

00:21:06,560 --> 00:21:09,199

But maybe in your world,

that's what you want.

398

00:21:09,860 --> 00:21:11,239

And there's freedom on this canvas.

399

00:21:11,239 --> 00:21:12,530

You can do anything here.

400

00:21:13,790 --> 00:21:15,800

You can leave him string wire

on your tree if you want to.

401

00:21:15,860 --> 00:21:16,550

It's okay.

402

00:21:17,479 --> 00:21:25,429

Yeah, no, in there, this is a tree

that lives right along here and he too

403

00:21:25,429 --> 00:21:26,989

has a beautiful view of the mountain.

404

00:21:29,805 --> 00:21:30,945

All right.

405

00:21:32,915 --> 00:21:35,975

And we can come back and I'll

take a little paint thinner and a

406

00:21:35,975 --> 00:21:38,945

little, little white, but at least

a little touch, a bright red in it.

407

00:21:39,395 --> 00:21:42,845

And come right back in here and

add some highlights to your tree.

408

00:21:44,225 --> 00:21:49,235

Your mountain tells you the light's

coming from the right side, that easy.

409

00:21:50,045 --> 00:21:52,025

You can make it a little

tree to stand out there.

410

00:21:53,225 --> 00:21:54,485

Came back to my Brown.

411

00:21:55,125 --> 00:21:56,355

Don't want the other side left out.

412

00:21:56,365 --> 00:22:00,915

It'll get jealous and nothing

worse than a mad tree to you.

413

00:22:01,815 --> 00:22:04,875

Maybe there's a little treat

Liz right here in front of that.

414

00:22:04,875 --> 00:22:07,685

Great big one, doing it this way.

415

00:22:07,745 --> 00:22:10,505

Painting that tree first and then

painting trees in front of it.

416

00:22:10,955 --> 00:22:14,075

It creates the illusion of depth

and distance in your paintings.

417

00:22:14,165 --> 00:22:15,485

No, it's not flat.

418

00:22:16,775 --> 00:22:17,705

It's not flattened.

419

00:22:17,735 --> 00:22:20,705

So many paintings I

see are just very flat.

420

00:22:22,175 --> 00:22:23,375

This way you build depth.

421

00:22:23,975 --> 00:22:27,925

You'll be able to see between

things and look back in there.

422

00:22:29,145 --> 00:22:31,305

Just, Oh, it's fantastic.

423

00:22:31,635 --> 00:22:34,605

I've painted literally tens

of thousands of paintings.

424

00:22:35,205 --> 00:22:39,645

And I still get excited every

time I see this work and every

425

00:22:39,645 --> 00:22:45,745

time they're just all kinds of

little limbs and sticks and twigs.

426

00:22:46,950 --> 00:22:48,180

Wherever you think they should live.

427

00:22:48,900 --> 00:22:52,830

That if that paint doesn't flow for you,

chances are you don't have enough paint.

428

00:22:52,860 --> 00:22:53,160

Thinner.

429

00:22:53,160 --> 00:22:54,660

Just had a little more

paint, thinner deal.

430

00:22:55,290 --> 00:22:56,430

It will begin sticking.

431

00:22:56,430 --> 00:23:01,800

I'm going to go back to my round brush, go

into a little yellow ochre, a little bit

432

00:23:01,800 --> 00:23:03,390

of bright red and just mix them together.

433

00:23:04,380 --> 00:23:06,450

I'll put some, maybe a little

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S22E01 - Autumn Images

Bob Ross's

The Joy of Painting

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