Bob Ross's

The Joy of Painting

S26E01 - In the Stillness of Morning

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Hello, I'm Bob Ross.

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And I'd like to welcome you to

the 26 joy of painting series.

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If this is your first time with us, let

me extend a personal invitation for you

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to drag out some brushes and a few colors

and paint along with us on each show.

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And I'll show you how to do

some fantastic little paintings.

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And if you've been with us before,

let me thank you for inviting me back

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for another series of painting shows.

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Tell you what let's get right to it.

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Let's start out today and have

him run all the colors across the

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screen that you need to paint along

with us while they're doing that.

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Come on up here.

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Let me show you what I've got done.

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I've got a standard old 18 by 24

inch canvas today, but you use

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any sizes convenient for you.

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And I've covered the entire canvas with

just a thin even coat of the liquid white.

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Now the liquid white just makes the

canvas wet and it makes it slick and

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allows us to actually blend color right

here on the canvas, rather than working

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ourselves to death on the palette.

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So let's just take off and do a painting.

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It's very, very simple.

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And if you've never painted before,

this is one that you can do.

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Start off with a little tiny two inch

brush today, it would go into a small

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amount of pressure and blue now pressure

and blue is a very strong, strong color.

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So we don't need much just pull a

little bit out and tap the bristles

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like so, and that'll assure that we

have a nice even distribution of color

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all the way through the bristles.

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Okay, let's go right up here now then.

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As I say, the canvas is covered with

liquid white, so it's slick and wet and

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we can start right up here at the top.

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We'll just make little exes, little

crisscross strokes, something like that.

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That's simple.

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That easy.

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That's very easy to go back

and make it darker, but it's

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a son of a gun to take it off.

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You can, but it's much easier

just to start off with a little

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bit of color and then you can

always add more if you want it.

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So I suggest you start with just a little

bit of the Prussian blue, and then you

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can add as much as you want later on.

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We'll add a little more and make

it a little darker, just like

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so, and I'm going to leave some

areas that are sorta open by that.

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I mean, they just don't

have much color there.

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Maybe, maybe not like, so, okay.

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If you painted with us before, you

know that you know that this piece

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of canvas is your world and in

your world, you can do anything.

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That your heart desires on

this piece of canvas, you have

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absolute and total freedom.

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That's what makes it so fantastic.

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Maybe I'll have a cloudiness

when, so I'm going to leave a spot

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open right there, and we'll just

sort of see what happens there.

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And you can make this as dark as you want,

or as light as you want with me before,

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you know, I'm an absolute nut for water.

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I love water.

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So how do we get this old

brush full of some blue?

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Let's add just a little bit more to the

bristles like that just same way we loaded

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it before and let's go right up in here.

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We'll just pull across, start from

the outside, pull inward like that.

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This'll be still water today.

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I think so.

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Still water is normally flat.

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A little bit more color and

pull from the other side.

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I'm intentionally leaving a

little area open right in here.

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Because if everything works just right,

that'll look like, like, like little

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sheen of light that comes right across

there makes your painting exciting.

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Now, very gently.

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We can just go across the

entire canvas like that.

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And that takes out the little brushstrokes

and sort of brings everything together.

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No, the most fun part of this whole

technique is washing the brush.

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We wash our brushes with

odorless paint thinner.

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And in this canned here, I have a

screen in the bottom of it to scrub

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the bristles against that allows

the solid materials to settle.

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I think keeps the paint then a relatively

clean, it was, shake it off and

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just, just beat the devil out of it.

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That really is the fun part

of this whole technique.

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Now just use the same old breasts, I

think today to show you how easy this

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is, we'll only use, but let's just use

a two inch brush and maybe a knife.

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That'll be a challenge.

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I couldn't go right into a

little bit of the white paint.

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That's something like, so just

tap the bristles in there.

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Let's go back up in here.

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We said it was going to have a big

old cloud that lives in our sky.

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So we just take care of

their sort of tap it.

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Just tap.

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All we're looking for now is

just a very basic shape for

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a little cloud or big cloud.

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Let's have a big cloud.

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Like, so, and once again, you decide

in your world where all the little

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clouds and things live totally

and completely up to you, you can

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have them anywhere that you want.

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Maybe let's go right here.

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Just drop something in like that.

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Maybe a little more there.

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All we're doing is putting in

a basic shape at this point.

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Very basic.

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Then I'll get to wash the old brush again.

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I just like to wash the brush

cause it's a lot of fun.

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Same way, shake off the excess and

just beat the devil out of it there.

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And sometimes I'll, I'll take the

brush and go across a paper towel

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just to be sure that it's really,

really dry as I can get it now.

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Very gently, very gently

one hair and some air.

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We just want to just want to fluff this

big old group of clouds that we have here.

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Just fluff them up there, tease them a

little bit, and then very lightly just

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caress them go gently, gently across

them, something like so, and that easy.

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We have fantastic clouds in our sky.

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There SI nothing too.

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You can do this.

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You absolutely can do this.

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I get letters every day from

people all over the country that

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have never tried painting before.

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They've seen us on TV and they've

tried this and it works and they're

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so excited and they take the paintings

and they show them to friends and

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they show them to their family and

they say, Oh, you didn't do that.

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And some people tell me that they've

had family members actually look

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close and try to find numbers.

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Like they likely have

done a paint by number.

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Okay.

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Let's take some pipe.

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If we get to move along here.

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A little bit of the, a little

bit of the pressure, depression

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blue, we put some black in there.

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I want to make a gray color, maybe a

little bit of lizard Crimson in there.

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Ooh, I like that.

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So we have good Crimson, a

little bit of pressure and blue,

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little black, little white.

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It makes sort of a, sort of

a grayish color, but it has a

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little bit of the Crimson in it.

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I just wiped the old

knife on a paper towel.

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Now that still using the old two inch

brush, we're going to just pull it

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through this color and wiggle it.

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Just wiggle it.

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That pulls it to a

nice, sharp, sharp edge.

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All right, let's see here.

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You can see how sharp it is.

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Very sharp.

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Maybe in our world, back in here.

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Maybe we have some, some little

trees that live far, far away.

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Just take the breast touch,

give it a little push.

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See you there.

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And you decide how many

little trees are here.

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We don't want a lot of detail in

this it's too far away, too far away.

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I just want a few little things in

here when you're, when you're doing

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landscapes, things that are far away

should not show you a lot of detail.

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Just like when you're looking at

things far away, you don't see every

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leaf, every stick, every twig you see

indications see basic shape, basic color.

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And that's what we're looking for.

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Maybe there's a little guy that lives

right here in between all these big ones.

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There he's a special tree.

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All right.

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Let's see there something about

like KIPP, whatever, whatever.

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There's another one.

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And do you decide, you decide

how many trees are in your world?

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Cause each of us will see

nature through different eyes.

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And you should paint what you see.

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Painting is very, very individual.

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That's the reason I don't, I don't like

to use patterns or drawings on here first.

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Cause I think it restricts

creativity sometime just, just

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do it and enjoy it very quickly.

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You learn to compose as you paint

and that's that really may be the

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joy of painting saying, well, brush.

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Maybe right down in here,

we'll begin filling in.

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Tell you what, let me grab another brush.

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I have several going here or

create a little myths down here.

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They're simple as you're painting.

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If you don't have drawings and stuff

here, you'll get to see things.

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And this looks like a good place

to have a little Misty area.

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So just by tapping the base of it.

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Look at that flipped,

upward that easy, that easy.

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Now then we can come right along in here.

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I see it stands out now because you

have that little Misty area can just

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put a little thing right in there.

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Like heaven, wherever, wherever, watch it.

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Watch it.

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One of the greatest things in this

technique is reflections of reflect

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those trees right down into the water.

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So you just pull it straight down like

that, then go across and we have instant

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reflections that easy, just like it there.

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All right.

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Take the knife.

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I'm gonna take a little bit

of the liquid light and put a

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little titanium white with it.

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I want this to be a little

thinner, a little bit thinner

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than just straight titanium.

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Go cut across Caitlin, go up in here.

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Get a little roll of paint for the knife.

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We're just taking, we just

cut in a little water line.

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Something that someone lives right

along in here about like that.

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Easier this now waterlines and your

painting should be basically straight.

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You can go anywhere.

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You want to go with them, but

because the water's flat, they

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should be basically straight at all

times, or it just won't look right.

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It'll look, it'll look like your water's

going to run right out of your painting.

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And it's bad when you have to tie a

bucket on the side of your painting,

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catch the water sort of offends people.

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When they look at your pain there.

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All right, let me wash

the old brush again.

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I really disliked to wash these

brushes there, shake off the excess

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and just cover everything in the house.

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Time to get crazy.

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Now that's take oppression,

blue, midnight black.

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I'll put Crimson in there.

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Some SAP green, we'll put some Vandyke

Brown looking for dark color, and then I'm

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going to mix up a pretty good pile of it.

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Right?

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One kill.

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Let me wipe the old knife off.

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Okay, now then let's go back

to the old two inch brush.

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I want to show you how to make

some gorgeous trees using a brush.

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This big it's important to

load the brush correctly.

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Wiggle it, wiggle it.

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That pulls a paint down toward the end

of the bristles, and then sharpen it

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just like you would have find knife.

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There you go.

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Okay, let's go right up here.

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Now we've got to make a

big decision in our world.

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That's a big decision.

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There's a tree lives right there.

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That's the canvas.

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And then just with the corner of the

brush began working back and forth.

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Start from the center, work outward

center outward and see there, these

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big old trees, a little more painted,

they just live right in your brush.

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You just have to sort of push them

out, just push them out and down

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here, we don't, we don't really care.

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I'm going to have several trees,

so we're not too interested.

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We'll separate them with highlights.

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And maybe in our world.

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You're right.

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There's another little tree and

he lives right there, right there.

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See, that's I say down in

here, it doesn't matter.

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You can put this on with a paint roller.

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I will start a whole new

technique of painting here.

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Ruler, ruler, painting.

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All right.

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Just loading the brush again and let's

decide how many trees live in our world.

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We'll have another one there just

using the corner of the brush when

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you first start and as you work down

the tree, you're pushing harder and

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harder just to bend those bristles.

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Yeah.

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Something like, so there, shoot.

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I got to have one more

little tree out here.

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Make sure the brushes

to a nice chisel edge.

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Very sharp.

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Maybe this one's got a little

bit and anyway, I like trees.

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It.

243

00:13:21,630 --> 00:13:24,030

They don't just look like

future telephone poles.

244

00:13:24,030 --> 00:13:24,900

I got character.

245

00:13:24,900 --> 00:13:29,010

Some of them they're like people,

some of them have a few flaws in them.

246

00:13:29,010 --> 00:13:32,730

They, some of them are a little

heavier, some are a little skinnier,

247

00:13:34,020 --> 00:13:38,010

something like so, and some of them

maybe have a little tilt in there

248

00:13:38,070 --> 00:13:39,660

in their world and that's okay.

249

00:13:40,650 --> 00:13:41,580

That's okay.

250

00:13:41,820 --> 00:13:43,260

They're a little more color.

251

00:13:44,250 --> 00:13:48,150

And while we get this on the brush,

let's come right into here and let's put

252

00:13:48,150 --> 00:13:50,510

it the indication of some reflections.

253

00:13:50,510 --> 00:13:56,390

That'll be right into that big

group of trees that easy, that easy,

254

00:13:56,660 --> 00:13:59,150

and put a little land in there.

255

00:13:59,420 --> 00:14:02,300

See, this is all still just

using a two inch brush.

256

00:14:03,830 --> 00:14:07,730

Just putting the indication here

a little bit it'll land we'll come

257

00:14:07,730 --> 00:14:08,990

back and highlight all of that.

258

00:14:09,329 --> 00:14:13,709

Okay there, go across to that easy.

259

00:14:14,689 --> 00:14:19,250

And we have instant, instant reflections

that maybe one of the neatest things

260

00:14:19,250 --> 00:14:20,689

that happens in this technique.

261

00:14:22,160 --> 00:14:25,699

All right, let's take a little white

little dark Sienna, mix them together,

262

00:14:26,630 --> 00:14:29,630

make a nice Brown color, cut off a

little roll of paper and it should

263

00:14:29,630 --> 00:14:31,069

be right on the edge of the knife.

264

00:14:32,030 --> 00:14:35,959

And we can go up in here and let's

put a, let's just put a happy

265

00:14:35,959 --> 00:14:37,219

little tree trunk here and there.

266

00:14:38,895 --> 00:14:43,334

There something about like

cabin that you can change.

267

00:14:43,364 --> 00:14:46,484

Just a few trees into a lot of

trees by putting the indication

268

00:14:46,484 --> 00:14:48,344

of tree trunks here and there.

269

00:14:48,405 --> 00:14:50,625

Cause we don't know how

many trees are behind that.

270

00:14:52,484 --> 00:14:55,185

So that's how you make a few

trees into a whole forest.

271

00:14:55,905 --> 00:15:00,165

You didn't know you had that kind of

power, did you, but you do, you do

272

00:15:00,375 --> 00:15:04,574

on this piece of canvas, you can do

anything that your mind can imagine.

273

00:15:06,180 --> 00:15:06,870

I like trees.

274

00:15:06,870 --> 00:15:08,130

Let's make some more shoot.

275

00:15:08,130 --> 00:15:08,670

That was fun.

276

00:15:08,699 --> 00:15:10,080

Load the brush up the same way.

277

00:15:11,760 --> 00:15:12,900

This is your bravery test.

278

00:15:12,900 --> 00:15:15,300

Maybe one goes right off

the canvas on this side.

279

00:15:16,110 --> 00:15:22,350

Still just using the old two inch brush

and just working back and forth like that.

280

00:15:24,060 --> 00:15:24,960

That is a big tree.

281

00:15:26,580 --> 00:15:27,120

That's all right.

282

00:15:27,330 --> 00:15:28,050

It's our world.

283

00:15:28,050 --> 00:15:28,230

Isn't it.

284

00:15:28,500 --> 00:15:30,900

And if we want a big tree in

it, we can have a big tree.

285

00:15:32,370 --> 00:15:38,400

We can have anything in here that

we want there, because you can do

286

00:15:38,400 --> 00:15:40,350

anything that you believe you can do.

287

00:15:41,420 --> 00:15:42,709

And I know you can do this.

288

00:15:44,209 --> 00:15:48,130

I know you can do it there.

289

00:15:49,599 --> 00:15:53,079

Maybe we'll have another

one that lives right there.

290

00:15:54,579 --> 00:15:57,010

There, come in here.

291

00:15:57,040 --> 00:15:57,939

Once again, we don't care.

292

00:15:57,939 --> 00:16:00,130

We'll we'll separate all

that with just highlights.

293

00:16:01,870 --> 00:16:02,680

That's working so good.

294

00:16:02,680 --> 00:16:03,550

We've got to do one more.

295

00:16:04,930 --> 00:16:06,010

We'll have one more.

296

00:16:07,005 --> 00:16:07,605

I like him.

297

00:16:08,715 --> 00:16:11,955

This is a, this is a good painting

to give you some practice using

298

00:16:11,955 --> 00:16:15,525

the old two expression and for

making some fantastic evergreens.

299

00:16:16,365 --> 00:16:18,645

And what's fun is to do

a demonstration show.

300

00:16:18,645 --> 00:16:21,675

You show your family or your

friends, how you can do this.

301

00:16:22,305 --> 00:16:25,395

And when you drag out a brush, it

looks like, looks about like what

302

00:16:25,395 --> 00:16:26,955

they painted the barn with last week.

303

00:16:27,405 --> 00:16:28,115

They won't believe you.

304

00:16:31,805 --> 00:16:32,405

All right.

305

00:16:33,635 --> 00:16:34,505

Something like that.

306

00:16:35,594 --> 00:16:36,464

I'll tell you what maybe there's.

307

00:16:36,675 --> 00:16:36,885

Yep.

308

00:16:36,944 --> 00:16:37,395

You're right.

309

00:16:37,665 --> 00:16:38,474

It comes right down there.

310

00:16:39,704 --> 00:16:40,935

And in here, we'll just fill it up.

311

00:16:41,655 --> 00:16:42,615

Just fill it up.

312

00:16:44,415 --> 00:16:45,224

Just put some color.

313

00:16:45,224 --> 00:16:45,285

Yeah.

314

00:16:48,935 --> 00:16:49,265

Okay.

315

00:16:52,324 --> 00:16:54,814

We'll put a few tree trunks

over here on this side.

316

00:16:54,814 --> 00:17:00,935

Still using that same color, dark

Sienna, the white there, and this whole

317

00:17:00,935 --> 00:17:02,645

big boy had goes right off the canvas.

318

00:17:03,390 --> 00:17:06,660

We'll assume he's a big tree, strong tree.

319

00:17:06,990 --> 00:17:12,750

Maybe, maybe he's the puppetry lives out

here and here and there, you can see a

320

00:17:12,750 --> 00:17:14,310

few little things that just live in there.

321

00:17:15,119 --> 00:17:18,060

You can take the knife and just scrape

an indication of little Liam's that

322

00:17:18,060 --> 00:17:23,240

are hanging and evergreens always have

these little Liam's at hanging now.

323

00:17:23,240 --> 00:17:24,530

Then fun time.

324

00:17:25,910 --> 00:17:26,329

I'll use it.

325

00:17:26,329 --> 00:17:28,700

Same old brush has that tree color on it.

326

00:17:28,760 --> 00:17:31,580

I'm going right into the CAD yellow.

327

00:17:32,280 --> 00:17:35,580

And once in a while, I'll hit a little

yellow ochre, a little Indian, yellow,

328

00:17:35,580 --> 00:17:39,540

just to change the flavor a little bit

because there was blue and black and

329

00:17:39,540 --> 00:17:44,880

that color instantly, we have green,

we have a gorgeous green color loaded

330

00:17:44,880 --> 00:17:49,860

back up to chisel edge once again,

same way, very sharp, very sharp.

331

00:17:49,860 --> 00:17:50,310

See there.

332

00:17:51,330 --> 00:17:51,870

All right.

333

00:17:52,200 --> 00:17:52,830

Both sides.

334

00:17:52,920 --> 00:17:54,510

Let's go up here now.

335

00:17:54,510 --> 00:17:58,620

Then let's begin deciding

which trees in the foreground,

336

00:17:58,650 --> 00:17:59,880

which trees in the background.

337

00:18:01,020 --> 00:18:03,870

Figure it out in your mind and

do the tree that's farthest away

338

00:18:03,870 --> 00:18:10,890

first do him first there and then,

well, let's see maybe this tree.

339

00:18:11,850 --> 00:18:12,240

Okay.

340

00:18:13,170 --> 00:18:14,700

So you had to make these decisions.

341

00:18:15,600 --> 00:18:17,910

They're little yellow ochre.

342

00:18:17,910 --> 00:18:21,510

I'm going to add right in there

just to change the flavor a little.

343

00:18:21,510 --> 00:18:25,920

So this tree will have little

different taste to him there.

344

00:18:26,040 --> 00:18:26,430

See there.

345

00:18:27,645 --> 00:18:30,045

And as it works down there

to get darker and darker and

346

00:18:30,045 --> 00:18:31,275

darker comes down in the bottom.

347

00:18:31,275 --> 00:18:36,425

Right here, there are shadows,

big shadows, and also trees are

348

00:18:36,425 --> 00:18:39,035

normally brighter at the top

because you have the, you have

349

00:18:39,035 --> 00:18:41,615

the newest growth up there, there.

350

00:18:42,275 --> 00:18:46,355

If you have trouble making this stick at

the least little touch of paint, thinner,

351

00:18:46,805 --> 00:18:51,155

or a little touch of liquid white, even

just to thin the paint, because one of our

352

00:18:51,155 --> 00:18:52,955

golden rules that you need to remember.

353

00:18:53,585 --> 00:18:55,835

Is it a thin paint will

stick to a thick paint.

354

00:18:55,865 --> 00:19:00,155

We start with a paint that's much

thicker than normal oil paints.

355

00:19:00,245 --> 00:19:01,385

That's very important.

356

00:19:01,985 --> 00:19:03,155

It's much, much thicker.

357

00:19:03,305 --> 00:19:04,835

It's very firm, very dry.

358

00:19:05,795 --> 00:19:12,185

And then by sort of thinning each layer on

top of that, we can literally paint layer

359

00:19:12,185 --> 00:19:18,965

after layer on top of it, but each layer

needs to get a little bit thinner there.

360

00:19:19,025 --> 00:19:20,765

So if you don't start with a thick paint.

361

00:19:21,825 --> 00:19:25,515

Guess what's going to happen,

going to become a mud and mixer.

362

00:19:26,715 --> 00:19:29,865

And if you've painted sooner

or later, you're gonna mix a

363

00:19:29,865 --> 00:19:31,275

little mud to all of us have.

364

00:19:31,965 --> 00:19:36,135

So really pay close attention to

the consistency of your paint.

365

00:19:37,605 --> 00:19:37,935

There.

366

00:19:39,420 --> 00:19:41,340

Darker darker, darker down in here.

367

00:19:41,490 --> 00:19:43,020

Just let it fade right on into nothing.

368

00:19:43,380 --> 00:19:46,650

And this will happen automatically

because your brush as you're going

369

00:19:46,650 --> 00:19:49,770

down is picking up that dark color

and automatically it gets darker.

370

00:19:50,400 --> 00:19:53,520

Now let's load the brush

different this time.

371

00:19:53,760 --> 00:19:55,410

I'm going to tap it into the color.

372

00:19:56,430 --> 00:19:57,390

I'm going to break it open.

373

00:19:58,504 --> 00:20:01,324

And tapping into the color, giving

a little push, pull a little yell

374

00:20:01,324 --> 00:20:02,375

out there so you can see it better.

375

00:20:03,125 --> 00:20:06,665

Give a little push that loads a

little bit of paint right on the edge.

376

00:20:06,845 --> 00:20:07,595

Let's go up in here.

377

00:20:08,645 --> 00:20:08,764

Now.

378

00:20:08,794 --> 00:20:10,715

Maybe we said there was

going to be some land here.

379

00:20:11,375 --> 00:20:15,455

Look here, just touch

and follow those angles.

380

00:20:15,544 --> 00:20:18,665

Think about, think about the

lay of the land or the way, the

381

00:20:19,115 --> 00:20:20,735

way the land flows downward.

382

00:20:20,824 --> 00:20:24,635

It's most, most important there.

383

00:20:25,419 --> 00:20:29,010

Normally in fact, I can't think

of many exceptions, what are

384

00:20:29,010 --> 00:20:30,840

always sets in a recessed area.

385

00:20:32,010 --> 00:20:35,610

So usually there's a reason,

usually the land's coming downward

386

00:20:36,120 --> 00:20:37,590

pay attention to those angles.

387

00:20:39,120 --> 00:20:41,370

Pay huge dividends there.

388

00:20:42,659 --> 00:20:42,990

Okay.

389

00:20:43,530 --> 00:20:44,040

See you there.

390

00:20:44,159 --> 00:20:49,340

You can just make all these little layers

as things like so that he's put someone in

391

00:20:49,340 --> 00:20:51,290

a side too, that worked out pretty good.

392

00:20:52,159 --> 00:20:54,800

Once again, dip the brush into a

little paint thinner or a little

393

00:20:54,800 --> 00:20:58,340

liquid white liquid white will

make your color a little brighter.

394

00:20:59,030 --> 00:21:00,620

And sometimes that's very desirable.

395

00:21:01,490 --> 00:21:01,760

Okay.

396

00:21:02,000 --> 00:21:03,139

Sometimes you'd want to keep it.

397

00:21:04,605 --> 00:21:05,475

Very pure.

398

00:21:06,195 --> 00:21:06,735

It's up to you.

399

00:21:07,695 --> 00:21:08,985

You who make the decision.

400

00:21:10,754 --> 00:21:11,534

There we go.

401

00:21:12,225 --> 00:21:15,675

So the hardest thing about painting is

making these big decisions that you have

402

00:21:15,675 --> 00:21:21,495

to make, because when you have this much

power, you have to use it correctly there.

403

00:21:22,665 --> 00:21:23,235

All right.

404

00:21:23,625 --> 00:21:27,225

Well, when I go home, I don't

have any control over anything,

405

00:21:27,225 --> 00:21:34,095

but the garbage, but here I can

do anything and anything can move

406

00:21:34,095 --> 00:21:39,375

rivers here, there work in the layer.

407

00:21:39,375 --> 00:21:43,455

C always start father, stay away

and work forward, forward, forward.

408

00:21:43,995 --> 00:21:47,235

And by tapping, it makes these

little grassy areas and you can

409

00:21:47,235 --> 00:21:50,255

make them, you can make them know

where they're soft as velvet.

410

00:21:51,415 --> 00:21:52,795

Or you can make them very distinct.

411

00:21:53,185 --> 00:21:54,205

It's really up to you.

412

00:21:54,545 --> 00:21:57,925

It looks like a nice place just to

get a good book and go up here and

413

00:21:58,285 --> 00:22:00,295

kick back and talk to the animals.

414

00:22:00,295 --> 00:22:03,715

And now I'm a pull the

brush in a different way.

415

00:22:04,735 --> 00:22:08,545

So here I'm pulling it in

one direction, straight down,

416

00:22:08,785 --> 00:22:09,865

pulling it in one direction.

417

00:22:11,415 --> 00:22:13,995

And that'll cause it to have a

little curve and I want to turn

418

00:22:13,995 --> 00:22:15,585

the brush that curves to the top.

419

00:22:15,645 --> 00:22:16,004

See it.

420

00:22:16,185 --> 00:22:18,705

Let's go up here now that same old brush.

421

00:22:18,975 --> 00:22:21,285

I'm going to go right in here

and I'm just going to push you

422

00:22:21,285 --> 00:22:22,605

in a happy little bushes too.

423

00:22:23,325 --> 00:22:24,315

Don't let it slide.

424

00:22:24,495 --> 00:22:24,975

Push it.

425

00:22:25,305 --> 00:22:26,855

Make your bristles band a little bit.

426

00:22:28,425 --> 00:22:32,145

Look at that see little old tree.

427

00:22:32,145 --> 00:22:33,135

It lives right there.

428

00:22:33,945 --> 00:22:35,415

Or he can be a pretty good size tree.

429

00:22:36,225 --> 00:22:37,605

Had a little Indian, yellow to that.

430

00:22:37,635 --> 00:22:38,235

Brightened him up.

431

00:22:38,945 --> 00:22:43,145

Maybe there's a little friend

lives right here, there.

432

00:22:43,175 --> 00:22:45,715

See, it's up to you up

to you wherever you want.

433

00:22:45,905 --> 00:22:47,105

I got to have one on the other side too.

434

00:22:47,105 --> 00:22:48,005

That's working so nice.

435

00:22:48,005 --> 00:22:48,605

I can quit.

436

00:22:50,255 --> 00:22:51,035

Or does he live here?

437

00:22:51,540 --> 00:22:52,860

Right there, right there.

438

00:22:53,669 --> 00:22:55,879

See isn't that neat.

439

00:22:56,419 --> 00:23:00,229

Jared, thank would just an old two

inch brush and a big old method.

440

00:23:00,379 --> 00:23:02,870

It almost looks like a putty

knife that you could paint a

441

00:23:02,870 --> 00:23:04,100

gorgeous painting like this.

442

00:23:04,100 --> 00:23:06,620

And a matter of minutes you can.

443

00:23:08,060 --> 00:23:09,830

At first it may take you a little longer.

444

00:23:09,830 --> 00:23:11,389

Don't don't worry about speed.

445

00:23:11,389 --> 00:23:13,340

When you first start speed will happen.

446

00:23:13,340 --> 00:23:18,379

Automatically takes a little time to

learn how to load the brushes, but

447

00:23:18,379 --> 00:23:23,205

after you, after you've done that,

Speed will begin coming automatically.

448

00:23:24,155 --> 00:23:26,745

Say there we'll put a little

bullshit lives right down here.

449

00:23:29,220 --> 00:23:36,560

There we go wherever you want them,

you can have them anywhere and little

450

00:23:36,560 --> 00:23:39,620

waterline with ticket, same old color.

451

00:23:39,950 --> 00:23:44,600

It's just liquid white, liquid

white, probably that flat.

452

00:23:44,810 --> 00:23:48,530

We're going to cut across just like

we did in the background in this, put

453

00:23:48,530 --> 00:23:49,970

us a little waterline right into here.

454

00:23:50,270 --> 00:23:52,939

This little light area sorta

separates the two darks.

455

00:23:54,915 --> 00:23:58,005

If you get one that's too bright, all you

have to do is just rub it a little bit.

456

00:23:59,085 --> 00:24:03,795

See there once again, but you want to

keep them, I want to keep these lines

457

00:24:03,825 --> 00:24:06,765

basically straight, something like that.

458

00:24:08,835 --> 00:24:12,105

There you can have a little

ripple here and there.

459

00:24:13,905 --> 00:24:16,155

Like that take a clean knife.

460

00:24:16,605 --> 00:24:18,135

It would just pop in indication.

461

00:24:18,885 --> 00:24:23,355

A few little sticks, little twigs

that live out here wherever you want

462

00:24:23,865 --> 00:24:27,014

some on the other side to shoot.

463

00:24:27,165 --> 00:24:28,815

I think we got to finish painting here.

464

00:24:28,815 --> 00:24:32,205

We'll take a, take a little bit of

Crimson, a little paint thinner.

465

00:24:32,385 --> 00:24:35,445

We'll sign that one, but

I hope you try this one.

466

00:24:35,504 --> 00:24:37,395

This is a very easy little painting to do.

467

00:24:37,514 --> 00:24:41,355

And as I say, even if you've never

painted, this is one that you can do.

468

00:24:42,405 --> 00:24:45,405

Until next time from all of us here,

I'd like to wish you happy painting.

469

00:24:46,004 --> 00:24:47,145

And God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S26E01 - In the Stillness of Morning

Bob Ross's

The Joy of Painting

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