Bob Ross's

The Joy of Painting

S24E01 - Gray Mountain

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Hello, I'm Bob Ross.

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And I'd like to welcome you to

the 24th joy of painting series.

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If this is your first time with us, please

allow me to extend a personal invitation

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for you to drag out your brushes and some

paints and paint along with the seed show.

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And if you've been with us before, allow

me to thank you for inviting us back for

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another series of paintings shows, tell

you what let's get started today and have

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him run all the colors across the screen.

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That you need to paint

along with us at home.

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And while they're doing that, let

me show you what I've got up here.

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I have my standard old 18 by 24 inch

canvas, but you use any sizes you want.

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This is a pre stretched

double prime canvas.

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Then I've covered the entire

canvas with just a very thin

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even coat of liquid white.

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Now liquid white is an oil-based paint

that allows us to actually blend color.

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Appear on the canvas rather than

working herself to death on the

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palette just makes painting easy.

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So it's a fantastic day here that I

thought we just do a very warm little

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scene that makes you feel good in here.

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So let's start out with all two inch

brush with a little tiny one, take a

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little bit of the Indian, yellow, just a

very small amount on the two inch brush.

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Load a little color on the

brush must go right up here.

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Maybe we'll have a beautiful little

sky is just full of warm colors

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that as I say, sorta makes you

feel good when you look at it.

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So you're making little exes,

a little crisscross strokes go

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all the way across the canvas.

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Like, so she asked about like, so maybe

we'll have a little water in here.

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I love water.

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I think it's so gorgeous.

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And it's very easy to paint in this

technique and we'll reflect a little

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bit color right down into the water.

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And then, then let's take, what

would that cleaning the brush?

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Let's just go into a little bit

of the, of the yellow ochre.

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Once again, we do not need

a great deal of paint here.

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Just, just a little pain, go right

above the yellow, still making

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our little crisscross strokes,

a little Xs, and just like that.

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Amazing.

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A little bit of the yellow ochre

yellow, or sort of a nice gold color.

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It's beautiful, beautiful little color.

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And.

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We'll reflect a little lab into our water

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time to get crazy time to get crazy.

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Let's go right into the bright red

and still we haven't washed the brush.

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Just a little bit of the bright

red and right up here making our

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little Xs little crisscross strokes.

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We'll add a little bit of that.

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And we had such a warm color.

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It just, it just makes you feel good

when you look at it makes you happy.

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You almost can't help.

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It just, just sort of warms up

your whole day, but too much of

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it will set your world on fire.

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So all we want is just a nice pinkish

reddish glow up here in the sky.

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It's all we're looking for today.

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And while I have that on the brush, we'll

just add, we'll do that down here too.

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And the water, we're just

going to reflect the same basic

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colors that we have in our sky.

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Something about left yet.

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There

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still haven't washed the brush.

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I looked, I looked for ways that

are easy in technical terms.

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That's known as laziness.

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There we'll take a little bit of the,

a little blue and a lizard crumbs and

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mix them together right on the brush.

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Let's go right up in here.

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And with that color, it's sort of

a lavender color where this food

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is filling the top of this guy.

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The little blue antlers are in Crimson

and you can, you can take this to the

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blue side or the red side just sort of

depends on your mood and how you feel

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is strictly in, completely up to you.

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Maybe the should, maybe I'll

tell you what, look here.

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Add a little bit more color to my

brush maybe in our world, their lives.

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Yeah, you're right.

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Just a happy little cloud up here and

we can, we can make the indication

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of the little cloud just by tapping.

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There he is.

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There he is a little cloud.

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Little cloud or big cloud.

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So you can just let it go.

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Let your imagination take

you wherever you want to go.

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But all we're doing is just tapping

in some basic little shapes here.

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We will put one on the other side.

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We don't want him left

out something like that.

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Now, then how we have that

lavender color on the brush.

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The blue and the Crimson, we'll

just come down here and fill

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in the whole bottom of this.

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Once again, all we're doing here

is just reflecting the color

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from the sky into the water.

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Here we are.

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Let's take and wash the old brush.

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We wash our brushes with odorless

paint thinner, and I really suggest

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that you use odorless thinner.

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Or you'll become very unpopular

around the home front.

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There's a screen down here in the

bottom of the bucket that I scrubbed

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the brush against and we'll shake

it off and just beat the devil.

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That really is the fun part

of this whole technique.

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Just clean the brush very lightly.

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Three hairs in some air, we'll just

go right over those, just blend

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them and it'll make instant clouds.

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And the more you blend them, the

softer they'll become and you can

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continue to blend them to, they

absolutely just disappearing.

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It's up to you.

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It's up to you, right?

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I think maybe today in this

little painting, let's build

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us a little mountain for that.

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We'll use some black, the

depression, blue little lizard,

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Crimson, maybe some Vandyke Brown.

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So we have black and blue lizard,

Crimson, little Vandyke Brown, pull

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the pain out as flat as you can

get it, really get tough with it.

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Cut across and get our little roller

paint, Liz right on the edge of the knife.

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Now you have to make your

first major decision.

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Where does your mountain live?

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Maybe in our world.

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Yep.

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Does.

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Now our mountain lives right there

with a very firm pressure, just

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literally pushed the paint right into

the fabric, right into the fabric.

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This is a chance to really get tough.

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Take out all your frustrations

and hostilities and whatever.

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Maybe there's a, maybe there's

another little peak right there.

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Wherever you want them

wherever you want them.

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This technique is so fantastic

because it allows you individuality.

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We use no patterns, no tracings.

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We just, we just want to show you

a technique and turn you loose on

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the world because the canvas is wet.

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You can move this paint.

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You can pull it.

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It'll slide right on top

of there, just like so.

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And if we had a dry canvas at this

point, you'd be we'd, you'd be an

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agony city because it paint will not

move like it does on this wet surface.

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And that's what the liquid white does.

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It allows us to actually blend

color right up here, lemon color.

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And it's also an excellent way here

of laying out your whole mountain.

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Uh, pulling it in the direction like this

downward, you can begin laying out all

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different ideas for highlights and shadows

in your mouth without being committed.

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There we go.

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Now let's put a little highlight

on that mountain today.

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Like titanium white.

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I'll reach up here.

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We'll get a little to midnight

black on a gray each color.

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So just black and white.

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Okay.

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There just makes it a little, but

I want to leave it sort of marble.

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So there's a lot of

things happening in there.

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Pull the paint out.

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And once again, our little roll of

painter, right on the edge of the knife,

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touch L pressure and just follow right

down the mountain there, but no pressure.

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Absolutely no pressure there.

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You've painted with us before.

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You've probably heard me talk about when

I was teaching my son, Steve, to paint.

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I used to tell him just to pretend that

he was a whisper, that just floated

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right across the mountain and that way he

understood to have a delicate of a touch.

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So maybe that's a good analogy.

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Good way to remember it just be a whisper

that floats across here, very delicate.

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And by applying no pressure,

it allows his paint to break.

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In other words, it leaves all

these little holes in it and that's

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what really makes it look neat.

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It makes it look like a mountain

and it's very simple there.

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Now let's make us a shadow color for that.

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We'll use a little white.

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Oh, a little bit of that.

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A little bit of depression,

blue, maybe just a touch more.

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I'm going to add a little man, like

Brown, maybe even a little black in there.

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What the heck they put a little Crimson.

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Ooh, I like it.

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I like that.

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That's a nice color.

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Just sorta decide what, what

color you want your shadows to be.

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And that's what, what they should be.

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Our little reel of paint.

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We can go right up in here and now we

can begin putting into indication of all

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kinds of little shadows in there to add

just a touch, more blue than my color.

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Just, it shows up a little better.

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You can see it.

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They're there.

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Touch in here.

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Every highlight needs its

own individual shadow.

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It doesn't have its own shadow.

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It just sort of lays their dead.

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They won't play with you.

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They're

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something like yet.

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Well, you can sort of play back and forth.

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Maybe you want to go back in here and just

change the shape of this a little bit.

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So it has a little more character to it.

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You can do that because on this piece of

canvas, you have total and complete power.

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You can literally do anything here.

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You have ultimate power on

this piece of canvas shoes?

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When I go home, I know I don't

have power of anything, but the

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garbage, but here, this is my

world and I can do anything here.

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I can move mountains.

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Can move mountains, change

the course of rivers.

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Anything that I want to do there, a

little shadow right underneath there.

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Maybe here and there a little

something like it would take a

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clean, dry brush and just tap.

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I want to diffuse the

base of this mountain.

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So it looks like it's sort of laying

in the mist down here, but always

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follow the angles, follow those

angles there, and then lift upward

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just enough to take out the tap marks

and to blend everything together.

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Excel.

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There see you there.

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That's all we need.

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Tell you what sometimes it's a lot of fun.

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Let's do this.

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You begin seeing things here.

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I like to have a lot of depth in my

paintings, so we'll just put another

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little range of mountains right here.

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Just drop them in same way and watch

had pushes at first range back.

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That's simple.

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Just put them in.

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Same thing sacked way as we

did the others scrape off the

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excess paint, blend them out.

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There we go.

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Something about

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bacteria, a little highlight

colors, the gray color, same thing.

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Follow those angles.

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Make those little noises

or just didn't work.

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Maybe this one.

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Yeah, it comes right down.

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Like, yeah.

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See, we could pull it over

here and blend it together.

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But notice the angles

angles are very important.

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If light's coming through here, it's

only going to strike at a given angle.

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So most of your highlights will be in the

same basic angle and most of your shadows

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will be in the same basic angle, depending

on where your light's coming from there.

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The so clean, dry brush.

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And once again, just tap this a

little to create the illusion of

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miss down at the base and lift up.

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All right.

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Let's have some fun.

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Let's do it.

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We'll just use that same old brush.

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I'm gonna take a little bit of

white, a little bit of that mountain

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color, mix them together, and I'm

just sort of pushing the brush.

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Get a little color on it.

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Maybe we're back here in the background.

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There's some little foothills and the

little foothills can be made just by

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doing something as simple as this just

tapping downward, just tapping down there.

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So all there is to it gently.

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Little quarter inch

strokes, very small lift up.

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It'll make it look like little trees that

we back here in the distance far, far

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away, pulling straight down straight.

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Now it's most important to come straight

down and then gently coming across.

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What makes the indication

of instant reflections?

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Sometimes it's fun to, to have

several layers here and you can do

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that just by doing it the same way.

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Having some basic little

shapes, pop it up, make it look

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like little things far away.

247

00:14:07,935 --> 00:14:11,085

Then they will put in another little

reflection as you come forward.

248

00:14:11,175 --> 00:14:15,695

Each layer should get a little

bit dark, little bit darker.

249

00:14:16,355 --> 00:14:16,655

Shoot.

250

00:14:16,655 --> 00:14:18,725

I tell you what, let's

have some real fun here.

251

00:14:19,505 --> 00:14:21,935

Maybe there's another one

that comes weird for you.

252

00:14:22,665 --> 00:14:24,075

There, something like that.

253

00:14:26,705 --> 00:14:27,295

Okay.

254

00:14:27,725 --> 00:14:30,665

Once again, I need our little

reflection, so just give it a little,

255

00:14:31,055 --> 00:14:34,235

a little downward pull, go across.

256

00:14:37,020 --> 00:14:39,840

And wherever, I don't know.

257

00:14:39,900 --> 00:14:42,600

Can you sort of have to make up your

mind each one of these though will create

258

00:14:42,600 --> 00:14:48,449

another plane in your painting and help

that illusion of distance and depth.

259

00:14:49,199 --> 00:14:52,170

I'm going to take a little SAP

green, a little yellow, just

260

00:14:52,170 --> 00:14:53,370

tap the brush the same way.

261

00:14:54,120 --> 00:14:56,970

And as things get closer to us,

we begin seeing a little color.

262

00:14:58,350 --> 00:15:00,810

So we can just, I'm using the

same old, dirty brush, just

263

00:15:00,810 --> 00:15:01,860

to add a little yellow to it.

264

00:15:01,860 --> 00:15:01,949

And.

265

00:15:02,175 --> 00:15:06,675

Some saffron green, we can just

begin tapping into indication of

266

00:15:07,755 --> 00:15:12,015

little colors that you can see

and things are far away from you.

267

00:15:12,525 --> 00:15:16,515

It's difficult to see color, maybe

just a hand to green back here.

268

00:15:17,954 --> 00:15:18,645

There we go.

269

00:15:19,095 --> 00:15:22,545

Now take a little touch of

the liquid white, put it on

270

00:15:22,545 --> 00:15:23,925

here, pull it up very flat.

271

00:15:24,285 --> 00:15:27,645

And I'm going to add a small amount of

the bright red, very, very small amount.

272

00:15:28,215 --> 00:15:28,935

Cut across.

273

00:15:30,510 --> 00:15:31,620

You want to go right up in here?

274

00:15:33,330 --> 00:15:37,950

Just act like you're trying to cut a

hole right in the canvas there, take

275

00:15:37,950 --> 00:15:39,890

out really all your hostilities here.

276

00:15:39,890 --> 00:15:41,120

Just really get tough with it.

277

00:15:42,380 --> 00:15:43,850

Just back and forth.

278

00:15:43,850 --> 00:15:45,590

Like you tried to saw

a hole through there.

279

00:15:47,330 --> 00:15:51,170

This will create the illusion

of a little water line also is a

280

00:15:51,170 --> 00:15:52,819

nice light area between the darks.

281

00:15:52,819 --> 00:15:55,130

It separates makes everything.

282

00:15:55,740 --> 00:15:57,240

Really stand out and look good.

283

00:15:58,290 --> 00:15:58,890

Okay.

284

00:15:59,850 --> 00:16:00,240

Maybe.

285

00:16:01,280 --> 00:16:01,490

Hmm.

286

00:16:01,670 --> 00:16:04,580

Let's have some fun

clean off a spot to work.

287

00:16:06,020 --> 00:16:07,490

Let's take some black.

288

00:16:07,640 --> 00:16:09,530

We use some pressure and blue.

289

00:16:09,620 --> 00:16:10,850

They look green.

290

00:16:11,240 --> 00:16:12,140

Alizarin Crimson.

291

00:16:13,640 --> 00:16:14,180

There we go.

292

00:16:14,240 --> 00:16:17,060

We just mix up a pile

color current, right?

293

00:16:17,090 --> 00:16:19,220

Let me grab a brush here.

294

00:16:20,655 --> 00:16:23,265

Maybe we'll maybe we'll

just use a little fan brush.

295

00:16:23,265 --> 00:16:27,045

You could do this with a one inch brush

fan brush, whatever does use a little

296

00:16:27,045 --> 00:16:33,344

fan brush today, load a lot of color into

the bristles and let's have in our world.

297

00:16:34,410 --> 00:16:38,880

Some happy little evergreen trees

just use the corner of the brush.

298

00:16:38,880 --> 00:16:44,010

And as you work down the tree, push harder

and harder bending the bristles down here.

299

00:16:44,339 --> 00:16:45,510

Ooh, we're really getting tough.

300

00:16:45,540 --> 00:16:47,520

We're just bending it all

the way down to the firm.

301

00:16:48,209 --> 00:16:48,870

Get tough.

302

00:16:50,250 --> 00:16:50,579

Show it.

303

00:16:50,579 --> 00:16:56,790

Who's boss, these little evergreens

live right in your fan brush.

304

00:16:58,375 --> 00:17:02,595

Just sort of times have to really

get forceful and push them out.

305

00:17:03,015 --> 00:17:03,795

There they go.

306

00:17:04,835 --> 00:17:05,825

Here comes another one.

307

00:17:07,125 --> 00:17:08,615

You decide how many trees you want.

308

00:17:10,265 --> 00:17:11,135

You decide.

309

00:17:11,315 --> 00:17:13,595

Really all we're trying to do

here is show you a technique.

310

00:17:13,745 --> 00:17:18,245

We use no patterns and no tracings

strictly up to you because you

311

00:17:18,245 --> 00:17:20,255

can learn to compose as you paint.

312

00:17:20,685 --> 00:17:27,314

If you'll just practice, just practice a

little, but if you like to use patterns,

313

00:17:27,314 --> 00:17:28,575

there's certainly nothing wrong with that.

314

00:17:28,635 --> 00:17:32,745

And you can trace your pattern on

here, but liquid white over it.

315

00:17:34,034 --> 00:17:37,425

And the liquid white is still

transparent enough that you

316

00:17:37,425 --> 00:17:38,835

can see the tracing through it.

317

00:17:39,075 --> 00:17:40,034

If you'd like to do that.

318

00:17:42,030 --> 00:17:48,600

Personally, I enjoy the freedom that

comes with not having a pattern because

319

00:17:48,600 --> 00:17:52,139

you can literally, as I mentioned

earlier, you can learn to compose

320

00:17:52,139 --> 00:17:55,110

and create your paintings as you go.

321

00:17:55,770 --> 00:17:56,669

And you'd look at them.

322

00:17:57,449 --> 00:17:57,899

Thanks.

323

00:17:57,949 --> 00:17:59,460

You you'll begin to see things.

324

00:18:00,629 --> 00:18:03,419

And with practice, you'll be

able to see more and more.

325

00:18:04,740 --> 00:18:06,840

After you've done a dozen

paintings, so you won't believe

326

00:18:06,860 --> 00:18:09,320

you, but you can do every day.

327

00:18:09,320 --> 00:18:13,340

I get, I get letters from fantastic

people all over the United States

328

00:18:13,340 --> 00:18:14,960

and in several foreign countries.

329

00:18:16,430 --> 00:18:20,450

And they're sending us pictures of

paintings that you wouldn't believe,

330

00:18:21,350 --> 00:18:22,670

and they've never had an art lesson.

331

00:18:22,670 --> 00:18:25,580

All they've done is they've

watched the TV series and yeah.

332

00:18:25,610 --> 00:18:28,130

And they've learned, and you can too.

333

00:18:29,180 --> 00:18:29,570

Okay.

334

00:18:30,330 --> 00:18:31,440

I was grabbing a one inch brush.

335

00:18:31,470 --> 00:18:34,680

Maybe we'll have some bushes down

here at the base of these trees.

336

00:18:36,060 --> 00:18:38,850

Just sorta push upward with the

brush and make the indication.

337

00:18:38,850 --> 00:18:40,950

There's some happy little bushes

that live right down here.

338

00:18:43,260 --> 00:18:43,680

Watch here.

339

00:18:43,990 --> 00:18:44,820

Turn the brush over.

340

00:18:46,200 --> 00:18:47,850

What's happened a little color underneath.

341

00:18:49,560 --> 00:18:52,770

I know you said Bob, you really

messed it up this time, but you watch.

342

00:18:53,495 --> 00:18:58,835

One of the most fantastic things

about this whole technique is the

343

00:18:58,835 --> 00:19:00,425

fact that we don't make mistakes.

344

00:19:01,505 --> 00:19:06,515

We have happy accidents because

very soon, very soon you learn to

345

00:19:06,515 --> 00:19:08,135

work with anything that happens.

346

00:19:09,635 --> 00:19:13,265

And it takes all the fear

out of painting there.

347

00:19:14,135 --> 00:19:15,695

We just tap some of that into there too.

348

00:19:16,565 --> 00:19:19,115

And as you've probably figured out

by now, this is going to end up

349

00:19:19,145 --> 00:19:21,785

being some gorgeous reflections

that live right into that tree.

350

00:19:23,010 --> 00:19:27,270

So we just take a two inch brush

grab and pull straight down.

351

00:19:27,360 --> 00:19:28,080

Very gently.

352

00:19:28,230 --> 00:19:33,630

Just pull it straight down over here,

straight there, and then go across.

353

00:19:34,890 --> 00:19:36,810

And we have instant reflections.

354

00:19:37,020 --> 00:19:37,980

Third easy.

355

00:19:39,270 --> 00:19:43,320

Now I have several of each brush go in,

so I don't have to spend all my time.

356

00:19:43,320 --> 00:19:48,140

Just washing brushes, dip the brush into

a little liquid white you're right back.

357

00:19:48,200 --> 00:19:50,570

Grab a little SAP, green, little yellow.

358

00:19:51,780 --> 00:19:56,250

Let's go right up in here and

let's just put some little

359

00:19:56,250 --> 00:19:57,960

sparkles out here on these bushes.

360

00:19:59,190 --> 00:20:00,690

Look at their son's playing through there.

361

00:20:00,690 --> 00:20:03,720

And this is a zing and through

little yellow ochre here in their

362

00:20:03,720 --> 00:20:07,740

little Indian, yellow, occasionally

at least little touch, the bright

363

00:20:07,740 --> 00:20:10,260

red, and just vary your colors.

364

00:20:11,985 --> 00:20:13,575

Very colors, dude.

365

00:20:14,115 --> 00:20:14,715

There we go.

366

00:20:16,215 --> 00:20:18,795

And work in layers, do

one little Bush at a time.

367

00:20:18,975 --> 00:20:19,725

Don't get greedy.

368

00:20:20,925 --> 00:20:22,575

Sometimes it starts working so well.

369

00:20:23,415 --> 00:20:26,504

We decided to do all of our

bushes at once and then there's

370

00:20:26,504 --> 00:20:27,825

no separation between them.

371

00:20:28,155 --> 00:20:31,665

No damn poor little Bush

just gets lost there.

372

00:20:33,725 --> 00:20:36,035

They're a little heavier

than the yellow ochre.

373

00:20:37,265 --> 00:20:39,425

It didn't have to change the

flavor a little bit, make it

374

00:20:39,425 --> 00:20:40,775

stand out as an individual.

375

00:20:41,879 --> 00:20:42,480

There we go.

376

00:20:43,350 --> 00:20:46,080

Now on the other side, we'll

do the same basic thing.

377

00:20:47,550 --> 00:20:51,480

SAP, green caddy, hell or

Indian, yellow, yellow hooker.

378

00:20:53,840 --> 00:20:56,870

There could have a little

bit more of the green.

379

00:20:56,870 --> 00:20:56,929

Yeah.

380

00:20:59,720 --> 00:21:00,199

Look at that.

381

00:21:01,080 --> 00:21:03,260

Everything you could make,

all his gorgeous bushes that

382

00:21:03,270 --> 00:21:07,010

easy, you really can really.

383

00:21:07,040 --> 00:21:07,820

And truly Kim.

384

00:21:10,020 --> 00:21:10,410

There.

385

00:21:12,260 --> 00:21:12,500

Okay.

386

00:21:12,740 --> 00:21:14,780

And maybe take one, let's have some fun.

387

00:21:14,810 --> 00:21:17,390

Let's just ref flecked a little

of that down into the water.

388

00:21:17,390 --> 00:21:20,660

I don't want a lot of reflection,

but just a little, just tap a little

389

00:21:20,660 --> 00:21:22,220

that color right down into the water.

390

00:21:22,310 --> 00:21:23,720

On the other side, same thing.

391

00:21:25,610 --> 00:21:29,420

There, you can make some of the

most beautiful reflections in this

392

00:21:29,420 --> 00:21:30,710

technique that you've ever seen.

393

00:21:31,610 --> 00:21:35,180

And when I was traditional painter

reflections are one of those things

394

00:21:35,180 --> 00:21:36,860

that absolutely drove me crazy.

395

00:21:37,500 --> 00:21:40,500

And in this technique, it may

be one of the easiest things

396

00:21:40,500 --> 00:21:43,170

that happens just come across.

397

00:21:44,280 --> 00:21:48,420

But when you pull this down,

Oh, so gentle one hair in some

398

00:21:48,420 --> 00:21:55,890

air that gentle easy caress, it

very lightly, very, very gently.

399

00:21:58,920 --> 00:22:02,930

Let's put a few little trunks

in our trees will a little

400

00:22:02,930 --> 00:22:05,270

dark Sienna mix them together.

401

00:22:06,315 --> 00:22:08,235

Tiny little roll of paint on the knife.

402

00:22:08,295 --> 00:22:12,795

We can go up in here, decide where you,

where your trunk lives in the tree.

403

00:22:12,825 --> 00:22:13,545

Just touch.

404

00:22:14,565 --> 00:22:17,265

Now, we're not going to see the

entire trunk because we're going to

405

00:22:17,265 --> 00:22:21,555

have some limbs that protrude out

in the front of the, of the trunk.

406

00:22:22,155 --> 00:22:26,595

So just here and there and you can scratch

in indication makes it look like there's a

407

00:22:26,595 --> 00:22:28,395

lot of trees there instead of just a few.

408

00:22:30,095 --> 00:22:30,665

There we go.

409

00:22:32,165 --> 00:22:35,345

See there.

410

00:22:36,465 --> 00:22:40,185

And you can just take a scrape

right through the paint and make it

411

00:22:40,185 --> 00:22:43,305

look like little sticks and twigs

and all kinds of little things

412

00:22:43,305 --> 00:22:44,565

that have back in the woods there.

413

00:22:45,975 --> 00:22:49,095

That's where all my little friends

live, the little rabbits and squirrels

414

00:22:49,095 --> 00:22:51,225

and all those little characters.

415

00:22:52,725 --> 00:22:55,905

If you've paid with me before, you know,

I have a lot of little animal friends.

416

00:22:55,905 --> 00:22:57,375

A lot of times we show

them on the program.

417

00:22:57,375 --> 00:22:58,935

I'll show you some for the series is over.

418

00:23:00,465 --> 00:23:02,895

I get a lot of letters in one of

the earlier series is I showed him

419

00:23:02,955 --> 00:23:07,034

a little squirrel that lived with me

named Pete pod, the pocket square.

420

00:23:07,415 --> 00:23:10,745

Hmm he's he's something else.

421

00:23:12,155 --> 00:23:13,625

And now he's an old squirrel.

422

00:23:13,625 --> 00:23:16,415

He's just about, just

about ready to turn loosen.

423

00:23:16,925 --> 00:23:18,784

We turn all of our

animals back to the wall.

424

00:23:18,815 --> 00:23:19,985

We don't, we don't keep them.

425

00:23:19,985 --> 00:23:21,274

We don't try to make pets out of them.

426

00:23:22,445 --> 00:23:22,925

Okay.

427

00:23:22,985 --> 00:23:26,695

Let's take a little, it

was SAP green, a little.

428

00:23:27,990 --> 00:23:32,580

Yellow make a dark green here,

and let's just begin putting some

429

00:23:32,580 --> 00:23:34,200

highlights on some of these trees.

430

00:23:34,200 --> 00:23:38,370

As you work down the tree, allow it to get

darker and darker and darker until it just

431

00:23:38,370 --> 00:23:40,470

feeds right off into the very dark color.

432

00:23:41,730 --> 00:23:43,920

Remember that you light's

coming predominantly from

433

00:23:43,920 --> 00:23:44,970

the right in this painting.

434

00:23:45,180 --> 00:23:46,770

Your mountain tells you so right there.

435

00:23:48,240 --> 00:23:50,820

So little more color on

the right than on the left.

436

00:23:51,360 --> 00:23:55,200

We'll give that indication

in the trees there.

437

00:23:55,800 --> 00:23:57,360

Let's see down in here, keep it very dark.

438

00:23:57,360 --> 00:23:58,380

Cause you need a nice shadow.

439

00:23:58,380 --> 00:23:58,830

Where are you going there?

440

00:23:58,830 --> 00:23:59,790

It makes them look deep.

441

00:24:00,480 --> 00:24:01,080

Very deep.

442

00:24:02,520 --> 00:24:03,210

There we go.

443

00:24:03,510 --> 00:24:08,940

A few over here, something about like

the head, this old tree needs them.

444

00:24:10,560 --> 00:24:11,310

There we go.

445

00:24:12,330 --> 00:24:15,090

Just drop them right on there.

446

00:24:16,800 --> 00:24:18,780

Darker, darker, darker

down here toward the base.

447

00:24:19,965 --> 00:24:21,735

We got some nice highlights

in the evergreens.

448

00:24:21,735 --> 00:24:24,345

Now, then all this needs

something to stand on.

449

00:24:24,345 --> 00:24:30,125

So it didn't involve over in the Lake

area and it might be a river, whatever

450

00:24:30,125 --> 00:24:34,385

you want it to be, take some Vandyke

Brown and let's put some land under

451

00:24:34,385 --> 00:24:39,095

all this pool, sorted the angle that

you think the land would be flow.

452

00:24:39,935 --> 00:24:43,895

Remember that water always,

always sits in a recessed area.

453

00:24:44,254 --> 00:24:48,815

So chances are that there's sort

of an angle coming down like, yes.

454

00:24:50,730 --> 00:24:51,300

There we go.

455

00:24:51,600 --> 00:24:56,250

Chances are, that's not a hundred percent

true, but most of the time, a little

456

00:24:56,250 --> 00:25:00,270

Brown and white come right back in here.

457

00:25:00,840 --> 00:25:01,380

No pressure.

458

00:25:01,380 --> 00:25:02,940

It's just like putting

snow on the mountain.

459

00:25:04,080 --> 00:25:08,510

Just like putting snow

on the mountain there.

460

00:25:09,680 --> 00:25:11,450

The angles are very important here.

461

00:25:11,900 --> 00:25:12,680

Very important.

462

00:25:13,160 --> 00:25:14,600

You wouldn't want to

bring these straight down.

463

00:25:14,610 --> 00:25:16,190

It looked like Cliff's hanging there.

464

00:25:17,264 --> 00:25:19,965

There we go a little

bit of our liquid white.

465

00:25:21,754 --> 00:25:24,304

That'll give us a little water

line, cleaned the bottom up,

466

00:25:24,754 --> 00:25:25,955

sort of bring it all together.

467

00:25:27,514 --> 00:25:28,054

There we go.

468

00:25:30,245 --> 00:25:32,814

There we go.

469

00:25:32,824 --> 00:25:37,804

Back in here, maybe a little ripple

here and there and there and here.

470

00:25:39,345 --> 00:25:42,885

Wherever painting is a

very individual thing.

471

00:25:43,865 --> 00:25:46,685

So when you're doing your

painting, you change it anyway,

472

00:25:46,745 --> 00:25:47,825

that makes you feel good.

473

00:25:48,605 --> 00:25:54,155

Cause we each see nature through different

eyes in the way I see it may not be the

474

00:25:54,155 --> 00:25:57,235

way necessarily that you see it all.

475

00:25:57,235 --> 00:26:01,895

I want to show you a technique, a

technique that makes painting very easy

476

00:26:02,225 --> 00:26:04,565

and that you can do anybody can do.

477

00:26:06,524 --> 00:26:09,044

I absolutely never met

anyone who could not pay,

478

00:26:12,155 --> 00:26:15,215

just take the point knife and

we've cut a few little sticks

479

00:26:15,215 --> 00:26:16,385

and twigs and things in here.

480

00:26:16,865 --> 00:26:19,534

This also helps show different

layers shows deaf to yeah.

481

00:26:19,625 --> 00:26:20,014

Painting.

482

00:26:21,185 --> 00:26:22,534

There are a few over this side.

483

00:26:24,935 --> 00:26:28,385

I can't, sometimes there's a

little Bush for two, it grows

484

00:26:28,385 --> 00:26:30,004

down edges and dropped them in.

485

00:26:30,905 --> 00:26:32,254

Just sort of helps fill everything.

486

00:26:32,254 --> 00:26:32,435

Yeah.

487

00:26:34,350 --> 00:26:34,710

Shoot.

488

00:26:34,710 --> 00:26:40,140

I think we're about to the point where we

can say on this one, take a little paint,

489

00:26:40,140 --> 00:26:45,180

thinner, a little bit of the bright red,

make the paint very thin, almost like ink.

490

00:26:46,140 --> 00:26:49,680

And let's go right up in

here and we'll sign this one.

491

00:26:50,250 --> 00:26:51,840

I really hope you've

enjoyed this painting.

492

00:26:52,410 --> 00:26:55,650

It's one, that'll bring you a lot

of pleasure because of all the

493

00:26:55,650 --> 00:26:57,510

colors makes you feel good in here.

494

00:26:58,140 --> 00:27:00,960

And from all of us here, I'd

like to wish you happy painting.

495

00:27:01,500 --> 00:27:02,760

And God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S24E01 - Gray Mountain

Bob Ross's

The Joy of Painting

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