Bob Ross's

The Joy of Painting

S25E05 - Summer in the Mountain

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Hi, welcome back.

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Certainly glad you could join us today

because today is a very special day,

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you know, from time to time when the

show we've had some fantastic guest

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artists, but today it's my privilege

to introduce you to absolutely.

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My favorite guest artist.

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This is my son, Steve.

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He's a fantastic artist.

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He travels all over the country and he

teaches literally thousands of people.

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The joy of painting,

Steve, welcome to our show.

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We're glad to have you here today.

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Nice to tell you what I'm going

to turn the show over to Steve,

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let him do a fantastic pain

for you and I'll see you soon.

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Steve yours.

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Thanks.

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Okay.

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Uh, so far on the canvas, I've got

a thin even coat of liquid white

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and, uh, there'll be running your

colors across the screen for you.

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Uh, I'm going to start off

by using my two-inch brush.

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And maybe just a little

bit of Elizah and Crimson.

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Just go into a tiny bit of the

color at one time, because you

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don't want to get too much on there.

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Ended up with your sky on

fire just a little bit.

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Okay.

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And then right around in here, what

we'd better call the firetrucks out now.

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Like I almost got too much.

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We can always blend

some of that out there.

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Maybe a little down here, like we're

going to have some water later.

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Okay.

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And then you don't even have to

clean your brush or anything.

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Just go into a little

bit of pressure and blue.

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That's an even stronger color.

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So you want to use.

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Less of it.

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Just a little

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and you see it right up here where

I'm putting these dark blue shapes is

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where I can lay some clouds in later

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but just a little Xs everywhere, just

to kind of let the shapes get smaller

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as you come towards the center.

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So start off like this and then.

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Turn it kind of horizontal,

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maybe just a little bit more

of that oppression blue with

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just a touch of SAP green

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and some straight,

horizontal strokes out here.

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The reason you want them straight

is because you want to indicate the

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stillness in the flatness of the Lake.

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If you had moving water,

you could do it differently.

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Okay.

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Something like that.

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And then you need to wash your brush out

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so much for that pair of pants,

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and then you just blend the

pink a little bit like that.

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Try to get out all those little streaks.

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If you can, but at the same time, you're

trying to leave a few little dark areas

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and pretty much the same thing

down here, but just straight.

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You don't want to blend out all

those little horizontal lines that

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kind of help, but only in the water,

the sky should be soft and the

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water can be a little bit crisper.

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Okay.

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And then maybe this one will have a.

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A mountain in it.

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And some clouds, both.

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I'm going to start off with the

mountain first though, so I can bring

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some clouds around it, a little bit,

oppression, blue and Vandyke Brown

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in equal parts and maybe a touch of

midnight, black and Crimson in that too.

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And leave your color really dark.

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This is going to be one

of those closer mountains.

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Okay.

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Maybe right about in here somewhere.

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you can always change things if you

want to just make them a little bigger.

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Okay.

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Yeah, of course.

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You can get a little carried away with

that probably at the nail and other

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canvas on top of this one, if you did.

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That's okay though.

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As long as you're having fun,

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you get the basic shape in there.

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Just kind of scrape away the excess

paint and a lot of my students,

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while I'm traveling around teaching

classes, the last me, how come

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you leave that edge up there.

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So there's that.

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Necessary.

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And I always tell them, well, yeah, if

you're doing a foreground mountain, it is.

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But if you're doing one that's

way off in the distance, you

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want those edges nice and soft.

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Okay.

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Now that you got that part in, just

pull it out a little bit with your

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big brush, go with the angle of the

mountain, always down like this, and

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then over here, pull to the left.

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You're pretending each peak is

split down the middle and you're

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pulling to the left on the left-hand

side, right on the right-hand side.

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And you could almost see impressions

of highlights right away,

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and then blend out the bottom

a little bit and make it soft.

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Now I think I'm gonna put a cloud in

there just a little bit of liquid white

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on the fan brush, and then I'm going

to go through some titanium white.

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Maybe even put a daughter

bright red in there.

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Okay.

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Let's see.

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What about one right here?

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Okay.

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Just making little circles and

don't kill all your dark areas.

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They're real important.

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Yeah.

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And if you lose some of your

paint, cause they add some more,

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it's up to you though.

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Some people don't light pink.

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Others of us do.

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I think a purple is probably my favorite

color because I like blue and red equally.

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okay.

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Something like that up there and maybe a

little one right in here could be anywhere

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then with the big brush,

just to blend a little,

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only blending out the bottoms

of the clouds and I'm using

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the top corner of the brush.

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Just like that go over them a

couple of times or a lightly,

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maybe right over here.

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This cloud will shoot right over

into the actual mountain itself.

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Only if you want it to though.

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Right over the top of it, even

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don't be scared of these big rushes.

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Sometimes they seem like they're so large.

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They're just going to mess up everything.

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But.

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In the long run.

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If you learn how to use them,

you can get more accomplished at

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one time and it looks even better

than it does with a small brush.

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Okay.

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Now, if you take a little bit of highlight

color, which would be your titanium white

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with your bright red, just like that,

get a nice roll on the knife and come

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in here and put on a little bit of snow.

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Now make sure that when you're doing this,

you don't push or anything on the knife.

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You want it to be a very gentle thing.

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Almost like you're letting

the bumps on the canvas.

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Just take the paint they

need as you drag it down.

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it doesn't have to be

thousands of peaks or anything.

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Either a mountain, many times

will look better if you just

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do something simple on it.

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I find that most of the paintings that

I do, uh, if I try real hard on them,

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people look at them and they say, well,

there's this just overdone or too much.

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I think simplicity, simplicity is

probably a little bit more important

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than, you know, trying to clutter up one.

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Okay.

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And then a little bit of pressure

and blue and white for shadow color.

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if you want to make your mountain look

even closer at this point, instead of

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just putting the blue on by itself.

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And you could even take a little bit of

a dark color that you used originally

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for the mountain and put that in behind

it first and see what happens there.

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It gets really, really up for it.

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right behind the highlight is where

you have shadows so that anywhere you

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see that bright white has come in a

little blue on there right behind it.

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This is a huge mountain here.

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I'm going to just let you guess

whether it got out of control on me,

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or I meant to do it this way, though.

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Okay.

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Back to the big brush.

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One more time.

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Tap in at the bottom of the

mountain, just a little bit.

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This'll be where we make

a little mist in there.

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Lift up into that.

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What you're trying to do is lift out the

tap marks and diffuse the bottom of the

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mountain, make it look really, uh, Misty.

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Like it falls right into the pitcher.

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that's Southern talk, their pitcher.

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It's really, once you pour, pour

Kool-Aid out of, I guess, but.

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Now I'm down at the

bottom of the mountain.

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We're probably going to want some

foothills and things like that.

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You notice, I always stand back a

little bit and take a look at it to

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make sure that everything's going okay.

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Sometimes I tilt my head at different

angles and stuff like that, too.

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A little bit of SAP green

and Vandyke Brown for this.

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And once you get a color mixed up

there, you want to take a little bit

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of white put with it, to lighten it up.

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okay.

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Maybe we'll have some foothills

that are kind of big since

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we got a big mountain too.

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Seems like that'd go together.

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All you have to do is keep

the brush vertical, just

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bounce it right across there.

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and you don't have to go with the

same colors that I'm going with.

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I would on my first one, but as you

paint, several of them, you'll notice that

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sometimes your colors look even better.

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when I first started, I always

use the same color as his dad did.

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Now.

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I use different ones and some

I like better and some I don't.

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Okay.

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Now underneath that, if you go back

with a big brush, one more time and

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mist, did you ever notice that, uh,

while I'm doing everything and the

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painting, I'm always knocking off the

bottom edge of it by doing that, that's

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how you make things look further away

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and you could even put a little bit

more of the same Brown and SAP green.

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In that color to darken it

down again and come right.

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Maybe back in between a few

of these and make it look like

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levels of foothills coming down.

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See, there you go.

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Now, one thing that you want to

be aware of right here, you don't

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want to knock out your whole Lake.

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You could end up coming

all the way down in here.

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You just want to do a little bit and stop.

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I think a lot of, uh, being an artist or

doing a painting has something to do with

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what not to do as well as what to do.

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Cause I have a habit of overdoing things.

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I'm going to do that much on

that part and leave it alone.

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I just have to force

myself to do that though.

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I always want to play

with it a little more.

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Okay.

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Fan brush and a little bit of that.

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Same Brown and SAP green.

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This time we'll leave the white out.

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Maybe right here.

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We'll have a pine tree.

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Jesse is in the corner of the

brush, the right-hand corner

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only if you're right-handed

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and as you get further and further

down on the tree, you want to push

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in harder and use more of the brush.

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In other words, you start

with a corner of it.

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And then about half of it's used

then the whole thing down here

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and from this pine tree, since you

already got it in there, you could

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just pretend that there'll be a piece

of land across there, like that, and

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kinda just smash it right in there.

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I think.

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For some of the people that I've talked

to do this, what makes it difficult

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for them is they're trying to think so

hard about the artistic thing about,

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Oh, I just have to get this perfect or,

you know, things like that main thing

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is just to get some color on there.

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That's what I tell them.

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Get some color on the canvas

now why you can work with it.

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And maybe on the next step, you

can get what you're looking for,

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because it always looks better.

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The more you do.

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That little guy there was just a baby.

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Okay.

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It's a nice idea to cut off the

side of the painting over here too.

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I usually like to do that kind of leads

your eye towards the mountain more.

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Okay.

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So just something like that on those.

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And then if you take a one inch brush,

you can come over here and do some CAD

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yellow pull through there, and we can

make a few little bushes out of these.

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Now I don't use a ton of yellow by

itself, but maybe we'll just have

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one bright yellow one right there.

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And if your paint won't

stick, use the drop a thinner,

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a little bit more yellow.

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Maybe this time with a touch of red in it.

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Make sort of an orangy color.

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What the heck?

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I'll put a red one right in the middle.

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Here we go.

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and you want to remember while

you're doing your paintings at home.

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That just because you might not be

totally happy with something that doesn't

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mean that somebody else won't sorry.

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00:17:56,615 --> 00:18:01,445

I find that the paintings I do that I

dislike the most people like the most.

249

00:18:03,095 --> 00:18:04,355

So you want to keep that in mind?

250

00:18:13,700 --> 00:18:19,040

A lot of fall colors today might as well

go up and put a little bit of those same

251

00:18:19,040 --> 00:18:21,290

colors on the pine trees up there too.

252

00:18:26,970 --> 00:18:27,530

Almost forgot.

253

00:18:27,530 --> 00:18:28,040

We wouldn't want.

254

00:18:28,710 --> 00:18:31,470

To forget something to hold those

pine trees up, maybe a little Vandyke

255

00:18:31,500 --> 00:18:33,390

Brown and a roll on the knife.

256

00:18:33,510 --> 00:18:36,750

And you can just go in there and

touch a couple of times like that.

257

00:18:38,510 --> 00:18:42,200

And, uh, maybe we highlight with

a little lighter color, white

258

00:18:42,200 --> 00:18:43,580

or light Brown it's up to you.

259

00:18:46,220 --> 00:18:50,360

And do you think pick the fan brush and

highlight those with your same yellows

260

00:18:52,370 --> 00:18:54,470

or even touch a little green in it?

261

00:19:02,120 --> 00:19:04,310

now you don't want too much

highlight on your pine trees.

262

00:19:04,490 --> 00:19:08,930

That'll that'll do you more

pain than good on those?

263

00:19:15,170 --> 00:19:16,370

Got to have those darks.

264

00:19:19,460 --> 00:19:21,740

That's probably one of the most

important rules I ever learned

265

00:19:21,740 --> 00:19:23,060

is it takes dark to show light.

266

00:19:24,885 --> 00:19:25,815

Guess who taught me that?

267

00:19:28,715 --> 00:19:29,045

Yeah.

268

00:19:29,315 --> 00:19:31,295

Maybe if you pull down a little

bit of that green, you can

269

00:19:31,295 --> 00:19:32,375

get a reflection out of that.

270

00:19:34,655 --> 00:19:38,015

I just added a tiny bit on my one inch

brush or that same green mother color.

271

00:19:43,475 --> 00:19:45,785

And I'll show you a simple

way to reflect color.

272

00:19:46,265 --> 00:19:49,715

Just take that same Bush color

that you used on the brush.

273

00:19:51,645 --> 00:19:55,985

Pulled down a little bit,

maybe brighter here and there.

274

00:19:57,215 --> 00:19:58,685

And for that red one, a little red.

275

00:19:59,345 --> 00:19:59,435

Okay.

276

00:20:02,375 --> 00:20:08,405

Then you can just take your big brush

back in there, pull down on it, wipe it

277

00:20:08,405 --> 00:20:10,175

off a little and go right across that.

278

00:20:17,195 --> 00:20:19,595

Now underneath all this stuff, we're

going to need something to hold it up.

279

00:20:19,935 --> 00:20:22,455

Uh, it looks like landed,

probably do a good job, huh?

280

00:20:23,925 --> 00:20:26,024

Vandyke Brown in pure form.

281

00:20:27,315 --> 00:20:30,885

And if he get a little roll on

there, you can come up here and just

282

00:20:30,885 --> 00:20:35,145

kind of pull some of that across.

283

00:20:36,345 --> 00:20:40,034

And if you're going to angle it,

angle it really far out to the right.

284

00:20:41,835 --> 00:20:44,655

I mean, a really long incline.

285

00:20:49,940 --> 00:20:51,590

Stay away from pulling it straight down.

286

00:20:52,010 --> 00:20:52,610

That's a no-no.

287

00:20:56,690 --> 00:20:59,240

And if you use a little bit of

Brown and white together, that'll

288

00:20:59,240 --> 00:21:00,139

give you a highlight color.

289

00:21:03,740 --> 00:21:05,210

Just throw a little bit of that on there.

290

00:21:07,909 --> 00:21:10,850

I have a tendency to drag my

fingernails down here through that.

291

00:21:10,850 --> 00:21:12,320

That's how flat you're holding the knife.

292

00:21:12,320 --> 00:21:13,250

It's a good indication.

293

00:21:20,450 --> 00:21:24,560

maybe a little bit of grass on top of

this, with that one inch brush, just like

294

00:21:24,560 --> 00:21:29,840

you made your bushes, just hold it on its

side and push in and try to make it look.

295

00:21:29,840 --> 00:21:30,860

Something like Rose.

296

00:21:34,100 --> 00:21:36,530

And once again, if it's not sticky and

you need more paint than her in it,

297

00:21:37,010 --> 00:21:38,510

let's get rid of those fingernail marks.

298

00:21:38,870 --> 00:21:39,320

Here we go.

299

00:21:39,710 --> 00:21:40,730

Or racer mate brush.

300

00:21:42,550 --> 00:21:45,600

And while I got it in my hand, I can

pull a reflection out of this land here.

301

00:21:49,669 --> 00:21:52,879

I try to do as much as I can with

that same brush before I put it down.

302

00:21:59,300 --> 00:21:59,570

okay.

303

00:21:59,570 --> 00:22:01,610

A little bit of liquid white on the knife.

304

00:22:04,040 --> 00:22:05,000

Spread that around.

305

00:22:05,000 --> 00:22:05,570

Real good.

306

00:22:06,169 --> 00:22:07,190

A little bit of blue with it.

307

00:22:07,190 --> 00:22:08,060

Maybe any blue.

308

00:22:10,920 --> 00:22:13,620

And let's get a little tiny

roll of that on a knife and

309

00:22:13,620 --> 00:22:14,910

go up here for a water line,

310

00:22:18,080 --> 00:22:23,060

something like that, right

underneath the edge of that land.

311

00:22:28,460 --> 00:22:31,310

kind of pushing hard, trying to get it

to come off the bottom of the knife.

312

00:22:46,775 --> 00:22:49,655

and then, uh, let's see, let's

go to the one inch brush.

313

00:22:49,655 --> 00:22:52,955

And over here we might

have a, a large something.

314

00:22:52,955 --> 00:22:54,665

Heck I'm not even sure

what it's going to be yet.

315

00:22:59,105 --> 00:23:00,185

No, you know, I'm just teasing.

316

00:23:00,185 --> 00:23:02,105

You it'll be a big pine tree.

317

00:23:13,145 --> 00:23:16,024

make sure that top skinny on

it, no matter how wide it is.

318

00:23:22,865 --> 00:23:26,075

I usually just get the shape in first

and then go back and darken it up.

319

00:23:33,814 --> 00:23:37,594

But you notice if you don't try real

hard on something, a lot of times

320

00:23:37,594 --> 00:23:40,685

it does come out better, you know,

more rough or realistic looking.

321

00:23:41,254 --> 00:23:46,054

I think our minds have a tendency

to think a more logical and less

322

00:23:46,054 --> 00:23:47,584

artistic from all that school.

323

00:23:53,205 --> 00:23:55,035

See now it's getting

nice and full in there.

324

00:23:59,805 --> 00:24:01,875

Always keep it a little

darker in the center too.

325

00:24:05,105 --> 00:24:07,504

And then down here, maybe just a

little bit of this kind of action.

326

00:24:14,399 --> 00:24:15,989

Let me be real careful

on this part though.

327

00:24:17,580 --> 00:24:18,929

I don't want to mess up or anything.

328

00:24:23,459 --> 00:24:24,060

Okay.

329

00:24:25,320 --> 00:24:28,409

And then just like the other side,

maybe a little trunk up there in

330

00:24:28,409 --> 00:24:32,909

that tree, something like that.

331

00:24:34,800 --> 00:24:38,639

A little bit of Brown and white

on top of it for a highlight.

332

00:24:39,239 --> 00:24:39,870

It's like that.

333

00:24:41,460 --> 00:24:44,879

If you don't like some of your truck

or you just want to, you know, diffuse

334

00:24:44,879 --> 00:24:48,720

some of it, you can go in and you can't

with that mother color a few times

335

00:24:48,720 --> 00:24:50,040

and it sets it right down in there.

336

00:24:53,190 --> 00:24:58,290

And let's see here, I drop a paint

thinner and some CAD yellow and a little

337

00:24:58,290 --> 00:25:01,260

bit of SAP green, and we'll be able

to put some highlight on that tree.

338

00:25:12,710 --> 00:25:14,000

Highlighting is kind of a pattern.

339

00:25:14,000 --> 00:25:14,750

You'll notice.

340

00:25:14,899 --> 00:25:18,230

Uh, as I come down here, I'm kind

of going one, two, three, four,

341

00:25:18,230 --> 00:25:19,490

one, two, three, four, like that.

342

00:25:19,490 --> 00:25:21,830

I kind of counted off in my

head or sing a little song.

343

00:25:23,240 --> 00:25:25,220

Some people say middle, middle side, side,

344

00:25:29,270 --> 00:25:32,120

and then down around here,

maybe a little bit of Bush

345

00:25:32,120 --> 00:25:36,649

action, any old color you want.

346

00:25:41,700 --> 00:25:43,140

I like bright colors myself.

347

00:25:52,670 --> 00:25:55,790

Now, a lot of times when I'm doing these

four gram bushes, I think to myself,

348

00:25:55,820 --> 00:25:59,990

well, you know, they should have a little

bit more detail on them or something,

349

00:26:00,320 --> 00:26:04,160

but, uh, I don't necessarily try to put

any detail on them, but when I'm done

350

00:26:04,160 --> 00:26:07,160

with them, I put a little strip of land

underneath that really helps a lot.

351

00:26:08,370 --> 00:26:14,220

The way you do that is just Vandyke Brown

and you just pull it right in there.

352

00:26:17,180 --> 00:26:17,930

It's like that.

353

00:26:18,260 --> 00:26:20,750

And a little bit of Vandyke Brown

and white on top of it, maybe.

354

00:26:24,020 --> 00:26:24,770

And there you go.

355

00:26:24,770 --> 00:26:25,580

There's some land

356

00:26:30,409 --> 00:26:32,990

and as usual, a little

grass on top of the land.

357

00:26:41,930 --> 00:26:44,870

well, it looks like that about,

does it for this one today.

358

00:26:46,010 --> 00:26:48,440

I hope you've had a really

good time watching the show.

359

00:26:48,590 --> 00:26:50,810

Maybe even as much fun as

I've had painted it for you.

360

00:26:52,160 --> 00:26:54,350

I'm going to leave this one on side

for now because I'm running out of

361

00:26:54,350 --> 00:26:57,200

time, but, uh, we'll see you next time.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S25E05 - Summer in the Mountain

Bob Ross's

The Joy of Painting

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