Bob Ross's

The Joy of Painting

S23E03 - Mountain Ridge Lake

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Hi, welcome back.

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Certainly glad to see you today.

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It's a fantastic day here and I

hope it is wherever you're at.

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So I'll tell you what, let's start out

today and have him run all the colors

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across the screen that you need to paint

along with us while they're doing that.

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Let me show you what I get done up here.

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I have my standard old pre-stretch

canvas up here and I've covered

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it with just a thin even coat of

liquid white and the liquid white

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just makes the canvas wet and slick.

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And so we're all ready to go.

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So let's do a fantastic

little painting day today.

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I'm going to.

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I want to show you a very simple

little painting that really works well.

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Just let's do something easy.

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Start be able to inspiration.

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Let's go right into a little touch of the

fail of blue and just touch a little and

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pull it out and then tap the bristles that

gets us a nice even distribution of color.

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See all the way through the bristles.

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Get us go up here.

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Cause we have the liquid white on here.

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The color is continually mixing.

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So you start at the top making little Xs,

little crisscross strokes, just like, so

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it's he had blends with that liquid wipe.

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If you had a drag canvas, this just,

it just doesn't work like that.

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The liquid white really

allows you to blend color.

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It makes life easy.

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When you're painting here we are.

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And as we work down toward

the horizon, we want it to get

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lighter and lighter in value.

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And that will happen automatically

because once again, The paints mixing

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with the liquid white and on the canvas.

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And so it gets lighter

in value automatically.

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You don't even have to do a thing here,

something about like, so now maybe

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I want to darken the edges a little.

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So I'm going to have just a touch

of the crush and bloop pressure.

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And blue is much stronger

than the filo blue.

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So just a little bit don't want much.

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And we'll go right up

here right on the edges.

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And I want a dark in those.

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So when the painting's finished,

your eye's going to go up in

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this area, the lighter you will

lead your eye right into it.

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And a little touch, maybe on

the other side, what the heck?

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We didn't want him blacked out there

and just very gently go right across.

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I just takes out the brush strokes

and brings everything together.

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Now you have little brush go in here.

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We'll take a little more of the blues.

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I use both blues.

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What the heck?

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We'll start with the yellow.

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Like we did on the sky.

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Let's go up in here.

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Maybe there's a little water

in here, you know, shoot.

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I love water.

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I still water is always

level, always level.

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So try to keep your strokes as

straight as possible there, but

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more of the blue over on the other

side and pull from the outside in.

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That way, this is a nice feather age here.

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You don't have a distinct line

that you have to try to work

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out fins, pull from outside.

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Yeah.

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And don't worry about it this time.

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Anything that we don't

want to be water shoot.

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We just covered up.

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Just covered up now the fun times.

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And then we've watched the old brush.

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You paint with me before, you know, this

is the highlight of the whole painting.

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There we go, just shake it off and

it's covering the entire studio.

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You should see our camera crew now,

then I just want to brighten this

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a little somewhat, take the least,

little, least little touch of CAD

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yellow and just put right in here.

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Just a little yellow highlight.

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Not much.

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Not much then we'll work that in there.

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Anyone that touches blue, it'll

just make us a nice greenish color.

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And we don't mind that in the water.

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All right.

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And that easy.

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So we have sky and water.

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As that told you this was going to

be a very simple little painting.

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That's easy enough that even if you've

never painted before you can do this one,

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you can do it and you can clean the brush.

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Now then let's build this a little cloud.

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Everybody likes to have

clouds in the painting.

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So I'll show you a very simple way.

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We'll use the old one inch brush and just

pull it through some color titanium white.

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Just pull it through the scope in here.

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Maybe.

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Maybe our cloud lives right here.

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Little tiny circles,

a little tiny circles.

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There you go.

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I just let that break dance and play,

but think about a basic cloud shape.

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Don't just throw it up there and

think of the cloud will appear.

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You have to have a basic shape

to work with something about

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like what the heck we don't care.

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Clouds are very free.

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Very very free now with a good clean

dry two inch brush, gently, gently,

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gently just using the top corner of

the brush, blend the base of the cloud.

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Very gently.

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I'm just beating the brush to knock

off the excess paint that will fluff it

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a little like so, and very gently one

hair in some air whisper light, just so.

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Go right over take you one too.

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That was so much fun.

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Let's get crazy.

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Maybe in our world.

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There's several little clouds.

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Add the least little touch

of the bright red to that.

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And let me say at least one more time.

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Cause it's a very small amount and

once again, pull it in one direction.

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So you got a little color there.

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All right, let's go up in here.

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You probably noticed there, we put tape

on the furrows of these brushes and stuff,

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just so they don't shine too much there.

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I get letters sometime and say

that the equipment that you use

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looks different than what I have.

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It's no different.

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It really is no different.

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All we do is we have to dull it.

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Otherwise when all these lights in

the studio hit it, it would shine

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and make big glares in the TV.

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And just me, no director would yell at me.

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So we just, we just put a little

bit of tape on there in the knife.

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I spray painted just black paint there.

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Shoot.

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Take your time.

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It's such a nice little cloud.

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Maybe, maybe he's got another little

friend right there, but do it in

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layers, finishing one cloud at a time.

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Don't don't get greedy.

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Sometimes it gets feeling good and

you just get sort of carried away

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and try to do them all at once.

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Just do one little cloud at the time.

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One little cloud at the time,

blended in fluff it tease it.

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Very lightly one hair in some air.

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Hmm.

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Maybe.

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Yeah, she, we have so

much fun with clouds.

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I'll tell you what, I'll

put another one right here.

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Now, when you're doing your

painting, you decide, you decide

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wherever you want to cloud.

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Then that's the right place to put one.

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Don't put one here just because I did.

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Put one in your painting

because you want it there.

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And then it's strictly yours.

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I just want to show you how to make a

cloud, how many clouds you make or where

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you put them strictly up to you painting.

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It should be very free.

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Maybe sometime you can just take the

span, the brush a little bit and put

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in some little wispy clouds, little

floaters, just spin the brush and let

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these little Rascals just float in there.

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See how easy that is.

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Now, same thing again, just

blend the base of the cloud and

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use the top corner of the brush.

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So if you use the bottom corner,

you can't tell where that's hitting,

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use the top corner and you can

see exactly where it's hitting.

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So if you hold it that way, you

can't tell where it's hitting.

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You're just guessing.

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And you want to be able to control this

rascal before it goes over here, these

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little wispies, I'm not even going to do

anything, but just, just blend right over

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these a little soft floaters that live.

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We back in the distance somewhere

far away, far, far away.

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Okay.

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All right.

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And that easy.

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We have some happy little clouds.

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Now then let's build us a little mountain.

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We'll take some black Vandyke Brown,

at least a little touch oppression, but

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I don't want much blue in this home,

mostly black, but a little Brown and blue

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just to change the flavor cut across.

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And we get a little roll of paint lives

right out there on the edge of the knife.

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So you met there?

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Yeah.

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Come around.

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They've been here.

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Let's have a, a nice mountain

that lives right here.

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See now.

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I've had some people say that

it's hard to make mountains.

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I'm going to show you the

easiest way imaginable.

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All we do is just put in a basic shape

and you decide the shape of your mouth.

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You decide if you don't live someplace

there's mountains and you want to

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paint a mountain there, books and

videotapes and all kinds of stuff, show

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you all different shapes of mountains.

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We're just make one up.

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Just make it up.

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There be creative.

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When you paint, just let your

imagination take you to worlds

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that exist only your mind that

you can put them on canvas there.

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I think I've mentioned some other series.

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That's probably what initially got

me interested in painting is that

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I could create any kind of world

that I wanted any kind of the world.

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I want it.

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No bad stuff here.

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So we have happy little trees.

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Everything's happy here, Kevin, I'm

just going to sort of pull that down,

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grab it and sort of pull it down.

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Just like we would normally

do to make them out.

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I see us getting lighter

down at the base over here.

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We'll just go in this direction and all

we're doing is just pulling the color out.

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So the next thing sticks easier.

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Get rid of that excess paint

more than anything else.

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All right.

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I was taking a little touch

of the, Oh, we take some time.

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Tanium, blind, least Lou

touch and dark Sienna.

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Maybe just a touch more on the mat.

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Ooh, that's nice.

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That's nice.

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But a rolled up paint once again, put

a very small roller paint now, then

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go up in here and just barely touch.

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Barely touch it.

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Just let it sort of

float down the mountain.

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See there.

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Okay.

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See, I use it.

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That is now if you do it fast, it

works better than just barely doing it.

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For some reason it works

better, but no pressure.

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You want this paint to break by break?

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I mean, have all these little

holes here in it, see there and

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maybe a little touch right in here.

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Gotta make those little noises.

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And sometimes those little

noises really do help.

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For some reason, it just sort of

make things work better there.

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All right.

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We'll just use that same old brush.

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Shoot.

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We don't care.

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Take a little bit.

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Cadieux yellow ochre.

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Be right back.

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Get a little touch of black,

little bit of SAP green.

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There we go.

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But mix these colors on the brush.

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So you have a multitude of

things happening on the brush.

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It'll end in yellow here and

there and here and there.

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And we'll touch the least little touch

of the bright red all on one brush.

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They'll look at all the colors

that are in that one brush and

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we're touching and pushing.

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Okay, let's go up here.

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And then I want to make little grassy

areas that flow right up the Hill.

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So all we do is touch and tap, follow the

angles, always follow those angles there.

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See you.

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Didn't that simple.

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Are you doing?

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It's just happy.

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The most important thing

is the angles here.

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You don't want your mountain to the

flow up this way and you put grasses

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going in a different direction.

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It will disturb you.

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I bet you've looked at paintings

and your mind says something's

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wrong with that painting.

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You might not find it to be able

to tell exactly what it is, but you

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know, something's wrong with it.

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And sometimes it can be

something as simple as that.

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So these little, little things that we

talk about all the time, like the lay

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00:13:03,689 --> 00:13:08,240

of the land and falling the correct

angles, most important, most important.

254

00:13:08,930 --> 00:13:12,920

They'll make your painting

special, very special.

255

00:13:13,845 --> 00:13:14,265

What's here.

256

00:13:14,895 --> 00:13:16,995

Let's see that one sort of went on over.

257

00:13:17,505 --> 00:13:21,495

So all you have to do, we'll take a

little touch of black, but right there,

258

00:13:23,235 --> 00:13:24,555

just give it something to stand on.

259

00:13:24,555 --> 00:13:30,425

I don't want to just lay out their bites

there and very lightly pull that down

260

00:13:31,175 --> 00:13:32,795

and I want it to remain a little darker.

261

00:13:34,205 --> 00:13:39,245

So it looks like it's closer in

the foreground there very likely.

262

00:13:39,630 --> 00:13:40,950

Steady blend right into nothing.

263

00:13:40,950 --> 00:13:44,790

And you can do that with just

the knife that easy, at least a

264

00:13:44,790 --> 00:13:45,990

little bit of color on the knife.

265

00:13:46,380 --> 00:13:50,520

And you can put the indication here and

there, little things that are happening,

266

00:13:52,830 --> 00:13:57,270

but that's just a little black on there

just to see how it makes it look like

267

00:13:57,270 --> 00:13:58,740

there's little things happening back here.

268

00:13:58,770 --> 00:14:02,370

And every time you have a little

projection here, it need a little shadow

269

00:14:02,370 --> 00:14:03,870

underneath it, or it won't play with you.

270

00:14:05,370 --> 00:14:07,080

Just let this go home and leave you.

271

00:14:07,890 --> 00:14:08,070

There.

272

00:14:08,070 --> 00:14:08,310

We are.

273

00:14:09,930 --> 00:14:13,170

There, the clean brush.

274

00:14:13,170 --> 00:14:18,090

You can very gently just blend that

up a little bit, but didn't that a

275

00:14:18,090 --> 00:14:22,170

neat way of making a mountain that

really looks like it's far away.

276

00:14:22,949 --> 00:14:23,790

Now I go back there.

277

00:14:24,660 --> 00:14:29,880

Per breast, it has the grassy colors

on it, and we can begin just putting

278

00:14:29,880 --> 00:14:31,380

it all kinds of little things.

279

00:14:32,490 --> 00:14:36,210

And once in a while, you can hit at

least little touch of titanium white

280

00:14:37,020 --> 00:14:40,500

and just put a little bright spot

here and there, but don't overdo or

281

00:14:40,500 --> 00:14:43,890

it will lose its effectiveness, like

is a little light hitting right there.

282

00:14:44,100 --> 00:14:48,180

Being here comes going right over there.

283

00:14:48,180 --> 00:14:48,510

It is.

284

00:14:49,465 --> 00:14:50,655

See, what does that tell you about?

285

00:14:50,685 --> 00:14:54,675

Let that go right on out there

once in a while you can hit a

286

00:14:54,675 --> 00:14:57,675

little SAP green just to give it a

little dark areas here and there.

287

00:14:57,675 --> 00:15:00,375

So it's not all the same identical cover.

288

00:15:02,285 --> 00:15:03,095

There we go.

289

00:15:08,705 --> 00:15:11,225

But isn't that a fantastic

and a very easy way.

290

00:15:12,215 --> 00:15:13,535

Making a gorgeous little mountain.

291

00:15:13,805 --> 00:15:14,855

Oh yeah.

292

00:15:15,375 --> 00:15:16,875

Sometimes I get carried away.

293

00:15:17,355 --> 00:15:18,135

I see something here.

294

00:15:18,194 --> 00:15:21,824

Let's do, let's take some

black pressure and blue and a

295

00:15:21,824 --> 00:15:25,335

little Crimson and SAP green.

296

00:15:25,395 --> 00:15:26,715

We'll just mix all those together.

297

00:15:27,944 --> 00:15:28,185

Okay.

298

00:15:28,245 --> 00:15:29,324

Let me wipe my knife off.

299

00:15:30,765 --> 00:15:32,835

Let me just wipe the old

knife on a paper towel.

300

00:15:33,765 --> 00:15:36,944

Yeah, I use a number three fan

brush, and I'm gonna put some

301

00:15:36,944 --> 00:15:38,055

of that dark color on there.

302

00:15:38,115 --> 00:15:41,625

Both sides loaded, full,

and maybe right up in here.

303

00:15:44,444 --> 00:15:44,714

. Yep.

304

00:15:44,954 --> 00:15:49,305

Maybe it was a little, a little standard

evergreens that lives right in here.

305

00:15:50,685 --> 00:15:53,084

Thank think that's what

you call a whole group.

306

00:15:53,925 --> 00:16:00,704

I know it's not a herd of evergreen, so I

think it's a standard, their whole family.

307

00:16:00,704 --> 00:16:04,665

What the heck, a bunch there.

308

00:16:06,045 --> 00:16:09,855

Now the backdoor brush, we were

making the little grass areas with

309

00:16:11,324 --> 00:16:12,765

a little grass right there in front.

310

00:16:14,775 --> 00:16:17,625

See that dark color we'll make

an instant shadow underneath it.

311

00:16:17,745 --> 00:16:18,975

You don't even have to worry about it.

312

00:16:20,685 --> 00:16:21,405

There we go.

313

00:16:25,454 --> 00:16:26,295

Let's get crazy.

314

00:16:27,555 --> 00:16:28,095

You know, me.

315

00:16:30,165 --> 00:16:32,205

You know me, I like to play.

316

00:16:32,355 --> 00:16:35,085

Let's see, we had black

little Bandag little pressure

317

00:16:35,535 --> 00:16:36,825

makes that same color again.

318

00:16:37,605 --> 00:16:39,045

Once again, our little roll of paint.

319

00:16:39,285 --> 00:16:39,795

There it is.

320

00:16:40,785 --> 00:16:42,645

Maybe over here on this side.

321

00:16:43,095 --> 00:16:43,425

Yep.

322

00:16:44,775 --> 00:16:46,305

Let's have another one this right here.

323

00:16:47,875 --> 00:16:48,975

Another big old mountain.

324

00:16:49,185 --> 00:16:51,105

It comes down right there.

325

00:16:52,575 --> 00:16:53,295

Certainly does.

326

00:16:53,295 --> 00:16:57,015

Now maybe.

327

00:16:57,825 --> 00:17:01,755

I don't know, maybe this one's got

a little bump right here too, and

328

00:17:01,755 --> 00:17:03,165

then comes right on out like this.

329

00:17:05,944 --> 00:17:06,694

There we go.

330

00:17:09,694 --> 00:17:12,935

But mostly black, I'm using a

very dark color, mostly black.

331

00:17:14,855 --> 00:17:15,395

All right.

332

00:17:17,285 --> 00:17:18,845

Now grab that.

333

00:17:19,115 --> 00:17:20,944

And once again, just pull it out.

334

00:17:21,005 --> 00:17:22,055

Just like we did the other one.

335

00:17:22,805 --> 00:17:24,485

This is just a repeat of the other side.

336

00:17:25,889 --> 00:17:33,679

We'll do it twice and that'll give you a

lot of practice, bought a practice there.

337

00:17:37,550 --> 00:17:41,030

And once again, we take a little white

with a little touch of dark Sienna in it.

338

00:17:42,110 --> 00:17:44,240

Maybe the least little touch

of black into that one.

339

00:17:44,240 --> 00:17:47,540

Just so it has some variations.

340

00:17:48,320 --> 00:17:49,189

They come right up here.

341

00:17:50,240 --> 00:17:54,080

Barely touch, whisper, whisper light.

342

00:17:54,435 --> 00:17:56,385

Let it go, let it go.

343

00:17:57,015 --> 00:17:57,735

No pressure.

344

00:17:58,935 --> 00:18:02,945

Like I've mentioned before, when I was

teaching my son to Steve to paint and he

345

00:18:02,945 --> 00:18:07,065

used to tell him just to pretend he was a

whisper floated right across the mountain.

346

00:18:08,565 --> 00:18:12,165

And he understood that, made him

understand how to gentle touch.

347

00:18:12,165 --> 00:18:16,245

This is a lot of times I just,

I absolutely dropped the knife

348

00:18:17,625 --> 00:18:20,235

because I'm holding it so gently.

349

00:18:22,455 --> 00:18:27,515

All right, we'll go back to her brush

that had the little grassy colors on it.

350

00:18:29,905 --> 00:18:31,835

Let's just sort of

bring all that together.

351

00:18:36,035 --> 00:18:37,985

Just let that grass

float right there though.

352

00:18:40,835 --> 00:18:42,305

Let it work its way right up here.

353

00:18:44,115 --> 00:18:46,565

You have to decide how far

up the mountain it lives.

354

00:18:48,060 --> 00:18:49,260

Since this is your world.

355

00:18:49,320 --> 00:18:50,430

You make that decision.

356

00:18:52,530 --> 00:18:53,280

There we go.

357

00:18:53,880 --> 00:18:56,700

Wherever, wherever they're

358

00:19:00,300 --> 00:19:00,810

okay.

359

00:19:00,900 --> 00:19:03,040

Maybe they're there and

we'll touch a little.

360

00:19:03,645 --> 00:19:09,075

Tiny tiny bit of the bright red, but not

much, not too much bright red, but once

361

00:19:09,075 --> 00:19:13,725

again, and I know you get tired of hearing

it, but pay attention to these angles.

362

00:19:13,945 --> 00:19:23,765

They're so, so important these angles, but

to make it work, they make it work there.

363

00:19:27,030 --> 00:19:32,700

Something about my cat and you can make

us as bright or as dark as you want it,

364

00:19:32,700 --> 00:19:38,910

depending on your mood and what you see

in your painting any way that you want it.

365

00:19:40,860 --> 00:19:43,140

Sometimes when you're not in such

a good mood paintings, have a

366

00:19:43,140 --> 00:19:47,580

tendency to get a little darker

because paintings reflect your mood.

367

00:19:49,050 --> 00:19:50,670

Sometimes you're not even conscious of it.

368

00:19:50,670 --> 00:19:51,210

It happens.

369

00:19:52,350 --> 00:19:54,480

Now there, I'm just gonna

take a clean, dry brush.

370

00:19:55,590 --> 00:19:59,280

I want to tap the base of this to

create the illusion of mist in here.

371

00:20:00,540 --> 00:20:05,610

Just the illusion of mist there,

right down here with the base.

372

00:20:08,340 --> 00:20:09,060

Very gently.

373

00:20:09,420 --> 00:20:12,210

You can also grab and lift up right

here and there to make it look like

374

00:20:12,240 --> 00:20:17,610

a little distant tree shapes, little

trees that are poking up there.

375

00:20:21,895 --> 00:20:26,685

Yeah, let's take it.

376

00:20:26,685 --> 00:20:31,755

And we'll just take that old dark

color that we had go right into it.

377

00:20:33,045 --> 00:20:34,395

This was the evergreen color.

378

00:20:35,775 --> 00:20:37,065

So let's go back in here.

379

00:20:38,445 --> 00:20:40,485

Maybe there's a little bit

of land lives right here.

380

00:20:40,875 --> 00:20:42,885

They're kind of just have to do.

381

00:20:46,275 --> 00:20:46,695

A big thing.

382

00:20:46,705 --> 00:20:48,375

I wanted to show in this

painting paintings, how to make

383

00:20:48,375 --> 00:20:49,755

very simple little mountains.

384

00:20:51,915 --> 00:20:55,155

And I think we've done some pretty nice

little mountains there for a little quick.

385

00:20:56,585 --> 00:20:57,305

You can do that.

386

00:21:00,065 --> 00:21:01,835

This is just dark color

so we can put, okay.

387

00:21:02,030 --> 00:21:05,660

Lighter color on top of

it later, it'll stand out.

388

00:21:07,910 --> 00:21:13,940

Absolutely have to have dark in

order to have light, dark, gotta have

389

00:21:14,330 --> 00:21:18,020

opposites, dark and light, light,

and dark continually in painting.

390

00:21:19,310 --> 00:21:20,360

Do you have light on light?

391

00:21:20,510 --> 00:21:21,230

You have nothing.

392

00:21:21,590 --> 00:21:24,530

If you have dark on dark,

you basically have nothing.

393

00:21:26,445 --> 00:21:27,105

There we go.

394

00:21:27,345 --> 00:21:30,585

No, it's like in life, got to have

a little sadness once in a while.

395

00:21:30,585 --> 00:21:34,605

See, you know, when the good times

come, I'm waiting on the good times.

396

00:21:34,605 --> 00:21:42,585

Now there I'm mixing black,

green, Prussian blue and Brown

397

00:21:43,245 --> 00:21:45,435

alizarin Crimson, anything.

398

00:21:45,435 --> 00:21:46,365

It looks dark.

399

00:21:46,965 --> 00:21:48,014

Let me clean off my knife.

400

00:21:50,565 --> 00:21:51,875

Anything that looks dark.

401

00:21:53,145 --> 00:21:56,955

And we'll load up the old fan brush

here full of color, a lot of color.

402

00:21:57,975 --> 00:21:59,265

Let's build us a forest.

403

00:21:59,715 --> 00:22:00,555

Maybe back here.

404

00:22:01,485 --> 00:22:03,435

All we're going to do

is touch and pull down.

405

00:22:04,365 --> 00:22:05,535

Don't worry much about this.

406

00:22:05,535 --> 00:22:08,535

All you're looking for is some very

basic little shapes back in here.

407

00:22:09,675 --> 00:22:12,825

Just some basic really shapes

wherever you think they should be.

408

00:22:14,115 --> 00:22:14,955

Something like that.

409

00:22:15,885 --> 00:22:16,215

Okay.

410

00:22:17,639 --> 00:22:25,950

Wherever there are these little background

trees that are far away, far away.

411

00:22:27,090 --> 00:22:30,180

They just live here and they look

back at that pickable mountain

412

00:22:30,180 --> 00:22:31,800

range and have a good time.

413

00:22:33,810 --> 00:22:38,100

And then here and there in there,

in here, there's a few that,

414

00:22:38,100 --> 00:22:40,139

a little more distinct there.

415

00:22:41,505 --> 00:22:45,705

So you use a corner of the fan brush

and put you some little arms and limbs

416

00:22:45,705 --> 00:22:50,835

and little hands, whatever, all kinds of

little things out here on these trees.

417

00:22:52,785 --> 00:22:53,595

There we go.

418

00:22:55,155 --> 00:22:58,935

And you just decide how many live

in there wherever you want them.

419

00:23:00,765 --> 00:23:04,545

There came maybe over here that

little, a little bigger, maybe a little

420

00:23:04,545 --> 00:23:06,135

stronger here, a little more light.

421

00:23:06,135 --> 00:23:06,405

Hit them.

422

00:23:07,995 --> 00:23:08,595

There we go.

423

00:23:11,635 --> 00:23:12,615

Give him another friend.

424

00:23:12,645 --> 00:23:13,305

What the heck?

425

00:23:15,705 --> 00:23:16,485

Something like that.

426

00:23:18,254 --> 00:23:20,675

All right, let's go on the other side.

427

00:23:21,524 --> 00:23:22,485

Don't want him left down.

428

00:23:22,514 --> 00:23:24,785

We'll give him a nice, big,

strong tree right there.

429

00:23:26,165 --> 00:23:26,705

There it is.

430

00:23:28,625 --> 00:23:33,485

But as you work down, push harder and

harder with a fan brush, it forced the

431

00:23:33,485 --> 00:23:37,264

bristles to bend downward and it'll

make all those little hangie down things

432

00:23:37,264 --> 00:23:39,035

underneath the tree, limbs and evergreens.

433

00:23:39,630 --> 00:23:43,170

Oh, we seem to have

those little lanky downs.

434

00:23:43,200 --> 00:23:46,050

Don't know, what'd you call it

little limbs that hang down.

435

00:23:46,710 --> 00:23:53,700

So there, they have to be little hangie

downs there and you put as many or

436

00:23:53,700 --> 00:23:55,050

as few of those narrow as you want.

437

00:23:55,650 --> 00:23:57,960

Now, one of the most fantastic

things that happens with this

438

00:23:57,960 --> 00:23:59,460

technique is reflections.

439

00:23:59,640 --> 00:24:00,090

Watch here.

440

00:24:00,750 --> 00:24:04,290

When I has a traditional painting,

I used to agonize over reflections.

441

00:24:05,190 --> 00:24:06,180

And this style of painting.

442

00:24:06,180 --> 00:24:11,970

It's one of the easiest things

that we do just easy pull straight

443

00:24:11,970 --> 00:24:18,330

down and go across, but it needs

to come straight down, straight

444

00:24:18,330 --> 00:24:21,090

down, and then very gently go frost.

445

00:24:21,870 --> 00:24:24,840

Like, so we go back to her brush.

446

00:24:24,840 --> 00:24:26,550

It had the grassy colors on it.

447

00:24:26,550 --> 00:24:29,220

Sam green yellows, all the yellows.

448

00:24:31,110 --> 00:24:32,340

Just mix them on the brush though.

449

00:24:33,000 --> 00:24:34,050

Kings go up in here.

450

00:24:34,995 --> 00:24:36,825

Maybe there's a look at that.

451

00:24:37,215 --> 00:24:37,995

Yeah, you're right.

452

00:24:39,835 --> 00:24:41,625

Just a nice little area back here.

453

00:24:43,065 --> 00:24:47,565

Something like him there and

all we're doing is just tapping.

454

00:24:49,505 --> 00:24:50,675

No big surprises here.

455

00:24:50,675 --> 00:24:55,085

Just tapping the follow,

the lay of the land.

456

00:24:56,105 --> 00:24:57,005

That's most important.

457

00:24:57,005 --> 00:24:59,885

You decide where it's at

and how you want it to be.

458

00:25:01,635 --> 00:25:03,855

Okay, maybe over here,

it comes this direction.

459

00:25:04,004 --> 00:25:04,514

I don't know.

460

00:25:05,115 --> 00:25:05,715

It's up to you.

461

00:25:06,915 --> 00:25:08,445

You make the big decision.

462

00:25:10,095 --> 00:25:12,554

We just show you how, but

you make the decisions.

463

00:25:14,084 --> 00:25:17,024

When you have this much power,

you have to make big decisions.

464

00:25:19,455 --> 00:25:20,685

Let's have some fun here.

465

00:25:20,834 --> 00:25:22,455

We'll take a little bit of liquid height.

466

00:25:24,284 --> 00:25:24,885

Let's put it all.

467

00:25:25,064 --> 00:25:27,645

Just a little water, right?

468

00:25:27,675 --> 00:25:29,024

A little water line right into here.

469

00:25:31,185 --> 00:25:31,545

They're

470

00:25:34,715 --> 00:25:35,295

sort of lifted.

471

00:25:35,445 --> 00:25:38,445

Just go right around in

there wherever you want it.

472

00:25:39,795 --> 00:25:48,285

Where ever there, the other side over

here, I have a little one right in here.

473

00:25:50,125 --> 00:25:53,655

I want this one to look

like it sorta curves around.

474

00:25:53,775 --> 00:25:56,985

So just do that like that.

475

00:25:59,070 --> 00:26:04,560

And I put it in there first and then I'll

put the dark so you can see it behind it.

476

00:26:07,120 --> 00:26:10,139

A little reflection down, go across.

477

00:26:11,250 --> 00:26:15,990

Then all we have to do is put a

little highlight on there fairly hard.

478

00:26:18,149 --> 00:26:23,100

Then come back a little

waterline, drop that in.

479

00:26:26,070 --> 00:26:30,570

We take our fan brush, put a little

dark green on it, and we can add just

480

00:26:30,570 --> 00:26:34,050

a few little highlights on some of

these evergreens, not a great deal.

481

00:26:34,110 --> 00:26:38,910

I want to keep them quite dark, something

like, so it's just a few, let's go

482

00:26:38,910 --> 00:26:40,260

on the other side and give it a few.

483

00:26:41,250 --> 00:26:43,950

And I think with that, we just

about have a finished painting.

484

00:26:44,880 --> 00:26:45,830

I really hope you try it.

485

00:26:45,830 --> 00:26:50,370

This one, as I said at the beginning, this

is a very simple painting that you can

486

00:26:50,370 --> 00:26:52,380

do, even if you've never painted before.

487

00:26:53,055 --> 00:26:55,815

So from all of us here, I'd

like to wish you happy painting.

488

00:26:56,655 --> 00:26:57,735

And God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S23E03 - Mountain Ridge Lake

Bob Ross's

The Joy of Painting

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