Bob Ross's

The Joy of Painting

S27E02 - Anglers Haven

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I welcome back.

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Certainly glad you could join us today.

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It's a fantastic day here and I

hope it is wherever you're at.

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

today and have him run all the colors

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across the screen that you need to

paint this little painting along

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with us while they're doing that.

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Let me show you what I've got done today.

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I have my standard old

18 by 24 inch canvas.

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But to use any sizes convenient for you

now, today, I've taken it covered the

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top part of the canvas with liquid white.

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I liquid waste, just an oil based medium

that makes the canvas wet and slick.

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And it allows us to actually

blend color right on the canvas.

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The bottom.

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Now I started with liquid black,

which is the same identical,

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medium, only it's black.

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And I started making little Xs and I

worked up till they blended together.

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So we have a graduation

from white to black.

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And with that, let's just make a, let's

just make a happy little scene today.

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One that's fun.

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And I think you'll enjoy it.

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Let's start out with a little tiny

two inch brush and here we go.

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Take a little bit of the theolo

blue fatal blue is a gorgeous,

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gorgeous blue, beautiful color.

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Don't need much.

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So it's very strong.

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Tap the bristles that distributes the

pain all the way through the bristles.

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Very evenly.

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Okay, let's go up in here now.

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I'm going to start up here in this

corner, just making little exes, little

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crisscross strokes, and we just dance

in a quick little happy sky there.

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Very easy little sky,

something nice and simple.

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It would just drop it in my kit.

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There it's all there is to, it

was a little something I can now

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then go back to the same color.

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Only this time I'm going to tap the

bristles firmly right into the paint, but

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very little paint just happened to see.

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Just tap.

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Now we take that top corner of the

brush and I want to make the indication

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of a big old, strong cloud we're using

exactly the same cover, but just by doing

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something this simple, you can create

that illusion without a lot of work.

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There we go.

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And I'm lazy.

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I look for easy ways.

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To make gorgeous paintings that work

that's what makes this whole technique.

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So fantastic works.

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There we go.

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Something like that.

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There style of painting is not

for just a few special people.

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Anybody can do this and anybody.

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I have people in their nineties that write

me letters and say, my fourth grade art

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teacher told me I had no talent and I've

spent my whole life wanting to paint.

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And I tried your technique and it works.

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It works.

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And those are the kind of

letters that I left to say.

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They're all right.

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We just blend that a little

bit mad and tell you when

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I'm gonna grab another brush.

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I have several of them going here.

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Come on, dip it into, just tap it.

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Same way into a little

bit of the titanium.

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White, just a small amount.

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I want to put a little

indication here and there.

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Maybe have a little sunlight to just

the thing in through these clouds.

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So I just tap in a little area,

get our little blender brush and

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very lightly you can blend that in.

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It might not look like a whole lot now.

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But when your paintings finished,

it looked like a little light areas

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where the sunlight's play in through.

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There, there, it's also a nice

way of making clouds today.

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I just want to put little indications of

little happy floaters that are going all

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over the sky, back to our little blender.

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And this blender brush is so soft.

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You can blend a right over that from

paint without disturbing it all right.

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That's all there is to it.

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Well that we got to, we got

a pretty nice little sky.

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Let's take black midnight, black

alizarin Crimson, the little fellow blue.

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We'll put a little

bandaid Brown there too.

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What the heck is your world?

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You make it any old color.

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You want it, but we're looking

predominantly for a black color,

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dark cut off a little roll of

paint and it lives right there.

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You can see it.

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It's right on the edge of the knife.

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Let's go up in here.

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Let's have a, let's have a big mountain.

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It lives up here in our world.

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Right there.

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Just take the knife and firmly

push this painful right into the

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fabric of the canvas, push it,

push it, really get in there.

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And this is where you take out all

your frustrations and hostilities.

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Get in there just as my

son, Steve says, mushi Dan.

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I don't know if that's a word

or not, but everybody knows

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what he means when he says that.

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And we'll take a two inch

brush and we want to grab this.

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This has the liquid white and black on it.

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So color we're move.

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You can literally slide

it around on the canvas.

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This was a dry canvas right now.

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You'd be an agony city

trying to pull it paint.

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But it's wet and we can move

it to anywhere we want it.

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The only thing we're concerned

with is that nice top edge

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appear rest of it don't care.

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We really don't care at this point.

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Yeah, let's go into, uh, let's

just go ahead and titanium white.

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I'm going to put the least,

little bit of black into it.

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Just a great demo.

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A little bit, something about

my cat, maybe Mulligan a little

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tiny bit of the bright red.

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Pull it out as flat as you can get

it cut across and get that little

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roll of paint again, it lives

right out at the edge of the knife.

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And maybe tell you what, let's have

the light coming from the left today.

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What the heck, or maybe in your world,

you want to come from the other direction.

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It don't matter.

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It doesn't matter.

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However you want it totally

and completely up to you.

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I'm just sort of wiggling the

knife back and forth here.

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I want to make.

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A nicer rigid comes right on that

down and let it blend outward.

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No pressure.

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Absolutely.

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No pressure there.

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Think about where light

would Zane through here.

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And sometimes I use the little

knife because you can get in

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there and put more detail in it.

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But right here we have, we have

a very limited amount of time.

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Shoot.

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I got a Mino director.

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If I don't finish in 30 minutes,

she has no sense of humor.

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Absolutely none.

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There we go.

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So we'll use the big knife, but when

you're painting at home, find the tools

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and equipment that are most comfortable to

you and that's the ones you want to use.

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That's the ones.

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Okay.

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All right.

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We take a little white,

put a little blue in it.

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We'll make a shadow color.

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I'm gonna add a little black

too, just to dial it down.

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Just to dial it down a little bit.

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They're eye shadow color, same way.

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Cut off a little roll of paint.

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And we go right up in here and

begin thinking where shadows would

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live lights coming from the left.

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Where is all these little gorgeous shadows

going to live in your mountain there?

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Now, one thing you'll find if you're

right-handed normally it's easier to have

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the light coming from the right normally.

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I'm going to say normally,

because we're all different.

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What's easy for one person is a

son of a gun for the next person.

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So it's up to you, right.

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Both ways.

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See it happens.

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But now if you're, left-handed, it's

a whole different story because I find

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as an ed and I travel all over and

teach, we find it that left-handed

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people have been forced all their

life to do right-handed things.

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And for that reason, sometimes

left-handed people prefer to highlight

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on the left or the right it's it's very

individual, very individual brother.

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Jim was left-handed and

that grew up with him.

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So I'm used to working

with left-handed people.

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There we were kids.

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We used to fight like cats and dogs.

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You know how brothers are.

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And I never expected that

left-hand to get me well.

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He used to suck me now.

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He grew up and he's bigger than I am.

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So I hope he doesn't remember all that.

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There we go.

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He's a good man though.

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He's my best friend in the whole world.

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There.

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It's about like, you just let

this go wherever you want it.

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Maybe it comes right on down.

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Just let your imagination ticketing

anywhere that you want to be anywhere.

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Just sort of let those blend together.

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The highlights and the shadows chant

Egypt, and didn't make work them together.

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And we can, we can use a little

blender brush here, just tap it and

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gently, and very lightly splendor

brush is so great for softening.

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There don't know why I waited

so long to, to introduce it.

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We just introduced this, I think in the

last series, it's relatively a new brush.

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Just wonderful.

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That's just some of the most

fantastic backs there or right

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in the business that you want.

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Let's have some fun.

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Let's use the old two inch bursty.

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What the heck?

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I'm going to go right

into that mountain color.

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Well, I'll change it a little.

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I'm gonna add a little SAP green

to it, little SAP green to it, just

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to change its flavor a little bit.

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Okay.

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I'm tapping the brush

firmly right into the paint.

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Cause I'm going to paint.

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Think I'll paint today.

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Show you how you can use just the

top corner of an old two inch brush

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and do some, do some things at all.

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Or unbelievable come right up here.

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Now take the top corner and begin

tapping in some basic little tree shapes.

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We're not looking for detail yet.

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All we're looking for is basic

basic tree shapes and forms.

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That's all we're looking for.

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They live right here in front

of this gorgeous mountain.

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What have you, what have you?

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I lived in Alaska for

a dozen years or more.

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And I think, I think as I've said, in

some other shows, God was having a good

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day when he made Alaska there's some

days it's like, when you paint some days

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you can't, you can't do anything wrong.

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Everything works for you.

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And I think that's, I think God was having

one of those days when he made Alaska.

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Some of the most gorgeous

scenery I have ever seen.

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There we go.

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Just using the top corners old to express

your tap in all these little basic shapes.

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There's no right.

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There's no wrong.

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Oh, you do just drop.

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Yeah.

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And even here you begin making

out, see, there's all kinds

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of little things happening.

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Don't cover them up.

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Leave them in there.

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They become your friend.

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Shoot.

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I like, I like these old big trees.

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Let's have another one over here.

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Something about like, there.

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There we go just once again,

basic, very basic shape.

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Think like a tree.

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Just think like a tree.

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How's the trees arms.

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How do they hang off the sides?

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Look at trees, make friends with

trees, study them, study them, go

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out in the yard and talk to a tree.

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But the heck your neighbors

might look at you.

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Like you're a little strange,

but telling me you're an artist.

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They'll understand that now we have this.

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So breastfeeding here, down here on the

bottom and this black, I want a little

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bluish color, a little bluish color.

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I'm gonna take a little of the pressure

and blue, just a little pressure and blue.

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And just add a little blue right in here.

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Not much

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start at the bottom and then desperate.

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You're not looking for a lot of blue here.

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Let's do a little

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Vivian, our world back in here.

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We'll take a little paint thinner.

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Remember our golden rule, thin

paint will stick to a thick paint.

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Someone take a little dark Sienna, at

least little touch your white in it.

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Okay.

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Let's go up in here and maybe, yep.

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You're right here.

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And there.

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The indication, just the indication

I have a little tree, trunk STEM,

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00:12:49,820 --> 00:12:51,950

whatever you want to call it,

that lives out in here, limbs.

252

00:12:51,950 --> 00:12:52,130

And.

253

00:12:52,440 --> 00:12:54,990

Branches, whatever, but

they live in these trees.

254

00:12:56,310 --> 00:12:59,280

Hey, live in there and

take a little light color.

255

00:12:59,280 --> 00:13:01,050

We set our light was coming from the left.

256

00:13:01,350 --> 00:13:03,270

So the left side, you can

make it a little lighter.

257

00:13:03,270 --> 00:13:05,700

If you want to stay there.

258

00:13:06,360 --> 00:13:09,990

Most of this, we're going to end up

covering up with leaves, but somebody will

259

00:13:09,990 --> 00:13:11,850

just show through and it'll be gorgeous.

260

00:13:11,850 --> 00:13:12,330

And people.

261

00:13:12,660 --> 00:13:15,479

When they look at your painting,

shoot, they'll think you spent

262

00:13:15,479 --> 00:13:16,800

half your life doing this painting.

263

00:13:17,550 --> 00:13:18,420

Don't tell him no different.

264

00:13:19,500 --> 00:13:21,030

All right, I'm going to go.

265

00:13:21,750 --> 00:13:23,579

This is keep using the

same old two inch brush.

266

00:13:23,610 --> 00:13:24,750

I left the dirty color on it.

267

00:13:24,750 --> 00:13:25,740

Went right into yellow.

268

00:13:26,670 --> 00:13:28,860

There's black and blue in this color.

269

00:13:29,400 --> 00:13:33,120

So when you touch the yellow

automatically, you're going to get

270

00:13:33,120 --> 00:13:35,189

all these gorgeous hues of green.

271

00:13:35,189 --> 00:13:38,550

Let's go up in here now go

slightly above the dark.

272

00:13:39,105 --> 00:13:42,915

And take this color and very gently

just using the top corner of the brush.

273

00:13:43,095 --> 00:13:46,425

That's all little yellow ochre

in Indian, yellow here and there.

274

00:13:46,765 --> 00:13:51,975

They're just the top corner again, tapping

in all of these little basic shapes.

275

00:13:53,145 --> 00:13:55,035

If you have trouble

making the paint stick.

276

00:13:55,530 --> 00:13:58,950

Add the least little touch

of paint, thinner, just a

277

00:13:58,950 --> 00:14:01,300

little paint thinner there.

278

00:14:02,670 --> 00:14:05,730

Did you ever think you could paint all

this detail just using the corner, but

279

00:14:06,000 --> 00:14:09,210

two inch brush, it looks like something

you've painted the barn with last week.

280

00:14:10,380 --> 00:14:11,130

You can do that.

281

00:14:11,910 --> 00:14:14,460

You can do anything that

you believe you can do.

282

00:14:15,210 --> 00:14:16,440

And I know you can do this.

283

00:14:16,530 --> 00:14:20,010

So certainly if I know it, you know

it to go into a little yellow ochre

284

00:14:20,010 --> 00:14:24,420

and the one touch, a bright red once

in awhile just to change the flavor.

285

00:14:24,480 --> 00:14:25,380

Oh, well I kept one.

286

00:14:25,410 --> 00:14:26,100

I like that one.

287

00:14:26,820 --> 00:14:27,660

That's a nice one.

288

00:14:29,170 --> 00:14:30,420

Very nice color.

289

00:14:30,540 --> 00:14:35,940

That warm up any room right

there, there, and begin working on

290

00:14:35,940 --> 00:14:37,950

little individual trees, bushes.

291

00:14:38,325 --> 00:14:39,495

Things that live all in here.

292

00:14:40,335 --> 00:14:42,855

Just think about all these

little guys, give them names

293

00:14:42,855 --> 00:14:45,675

if necessary, give them names.

294

00:14:45,675 --> 00:14:46,515

This is Clyde.

295

00:14:46,575 --> 00:14:47,715

He lives right here.

296

00:14:48,435 --> 00:14:52,395

I can see darker, darker, darker.

297

00:14:53,985 --> 00:14:54,795

Let's let them get in there.

298

00:14:56,355 --> 00:15:02,415

We back in there, like I've mentioned

frequently when you're painting, I

299

00:15:02,415 --> 00:15:05,925

find it helps a great deal to make up

little stories about your painting.

300

00:15:06,765 --> 00:15:07,305

Think about.

301

00:15:07,680 --> 00:15:09,689

Thinking about this area.

302

00:15:10,620 --> 00:15:11,760

Would you like to live there?

303

00:15:11,939 --> 00:15:13,410

Maybe somebody does live there.

304

00:15:14,670 --> 00:15:15,270

There we go.

305

00:15:15,270 --> 00:15:16,530

Make up little stories about it.

306

00:15:16,530 --> 00:15:18,900

Maybe there's a little animal

that lives here that your friend

307

00:15:18,900 --> 00:15:20,100

and you know him very well.

308

00:15:21,150 --> 00:15:22,860

Talk about him there.

309

00:15:24,360 --> 00:15:25,199

Something I can.

310

00:15:29,880 --> 00:15:31,260

Got another old, big tree over here.

311

00:15:31,260 --> 00:15:33,870

It needs a little bit there.

312

00:15:35,030 --> 00:15:38,240

We're going to just put a little in

them, at least a little touch, a paint

313

00:15:38,240 --> 00:15:40,069

thinner just to make it a little thinner.

314

00:15:41,010 --> 00:15:42,530

See those on so much easier.

315

00:15:43,215 --> 00:15:47,745

And you have to do that every once in

a while, especially if the paints the

316

00:15:47,745 --> 00:15:56,415

same consistency they're darker, darker,

darker is it works down darker and darker.

317

00:15:57,205 --> 00:15:59,925

It helps create the illusion of

shadows and stuff down in here.

318

00:16:01,845 --> 00:16:03,855

Maybe in here, there's

some dark little bushes.

319

00:16:05,295 --> 00:16:07,635

They just live in here

wherever you want them.

320

00:16:08,955 --> 00:16:09,435

There they are.

321

00:16:10,965 --> 00:16:11,775

All right.

322

00:16:12,695 --> 00:16:16,745

And sometimes you can take this brush to

get a little red on it and you can just

323

00:16:16,745 --> 00:16:20,885

sort of take the corner of it and move

it back and forth to see just the corner.

324

00:16:21,875 --> 00:16:22,775

What a good shot there.

325

00:16:23,895 --> 00:16:26,805

So taking this back and forth, and

now when you go up here and touch

326

00:16:26,805 --> 00:16:28,815

it, we'll make little pointy things.

327

00:16:28,965 --> 00:16:32,235

They got little points on it and

it sorta, it sort of changes.

328

00:16:32,235 --> 00:16:34,965

The flavor gives you a little Bush.

329

00:16:34,965 --> 00:16:36,135

It's a little different right in there.

330

00:16:37,815 --> 00:16:39,225

Katie, take a little bit of there.

331

00:16:39,465 --> 00:16:40,295

Maybe a little bit more.

332

00:16:41,375 --> 00:16:44,375

Well, I got one little

firecracker right there.

333

00:16:46,295 --> 00:16:47,505

Little firecracker.

334

00:16:49,245 --> 00:16:50,085

There we go.

335

00:16:51,015 --> 00:16:53,835

And just very back and forth

between the greens and the yellows

336

00:16:53,835 --> 00:16:59,055

and all these little colors, but

each one of these layers creates a

337

00:16:59,055 --> 00:17:00,525

different plane in your painting.

338

00:17:01,035 --> 00:17:03,975

And that's what creates that

illusion of depth and distance.

339

00:17:05,234 --> 00:17:05,895

There we go.

340

00:17:07,185 --> 00:17:07,454

Shoot.

341

00:17:07,454 --> 00:17:08,234

Let's have some fun.

342

00:17:10,230 --> 00:17:11,220

Now let's ask some fun.

343

00:17:11,370 --> 00:17:12,960

Let me clean off a spot to work here.

344

00:17:13,560 --> 00:17:17,520

Let's take black, a little

bit of the pressure and blue,

345

00:17:17,520 --> 00:17:20,310

some Brown, they look green.

346

00:17:20,640 --> 00:17:21,480

Like they look green.

347

00:17:21,480 --> 00:17:24,810

I'll make some evergreens there.

348

00:17:24,870 --> 00:17:25,860

Look Crimson in there too.

349

00:17:25,860 --> 00:17:26,850

What the heck is our world?

350

00:17:26,850 --> 00:17:27,510

We can do anything.

351

00:17:27,510 --> 00:17:28,050

We want.

352

00:17:28,290 --> 00:17:29,490

We wipe our knife off.

353

00:17:30,600 --> 00:17:32,430

I just wiped the knife,

a little paper towel.

354

00:17:34,350 --> 00:17:38,090

Go back into our color with a fan

brush load, a lot of pain in the

355

00:17:38,090 --> 00:17:44,270

brush, a lot of paint, a lot of

paint, maybe in our world, there

356

00:17:44,270 --> 00:17:47,090

lives an evergreen tree, right there.

357

00:17:47,330 --> 00:17:47,810

There he is.

358

00:17:48,020 --> 00:17:48,710

You knew he was there.

359

00:17:48,710 --> 00:17:49,070

Didn't you.

360

00:17:49,910 --> 00:17:52,610

And when you're doing this sometimes

to go over all the painters in your

361

00:17:52,610 --> 00:17:54,770

mountain, it gets a little difficult.

362

00:17:54,770 --> 00:17:56,690

They don't want to stick

if that's the case.

363

00:17:57,435 --> 00:18:00,014

Add the least little

touch of paint, thinner.

364

00:18:00,014 --> 00:18:03,495

Just, just dip the corner of your

brush into a little paint thinner, then

365

00:18:03,495 --> 00:18:06,315

go back through your paint and it'll

soften the paint, make it thinner.

366

00:18:06,975 --> 00:18:08,655

So it slides right on there.

367

00:18:09,885 --> 00:18:14,825

Enough of them, little ones, we need them

and he lives right in there somewhere.

368

00:18:16,925 --> 00:18:19,955

So you've been going over this sometimes

you need to add a little thinner.

369

00:18:20,865 --> 00:18:24,495

Because a thin paint will stick to a

thick paint and that way it'll go right

370

00:18:24,495 --> 00:18:26,205

over the top of it without any problem.

371

00:18:27,495 --> 00:18:31,455

And without, without all coming

together, we put one more in there

372

00:18:31,455 --> 00:18:32,475

and they will quit over the side.

373

00:18:33,975 --> 00:18:35,355

I just like to do evergreen trees.

374

00:18:35,355 --> 00:18:38,175

I think they're one of the

most fun trees to paint in.

375

00:18:38,175 --> 00:18:38,895

They're very easy.

376

00:18:40,905 --> 00:18:45,375

Let's put one on the other side,

artistically, it looks better.

377

00:18:45,375 --> 00:18:46,755

If you have an odd number.

378

00:18:46,905 --> 00:18:49,095

Now I know nature doesn't know that rule.

379

00:18:49,425 --> 00:18:51,825

And you're going to tell me, he

looked out the other day and saw an

380

00:18:51,855 --> 00:18:53,385

even number of trees in your yard.

381

00:18:54,285 --> 00:19:00,135

I know that's true, but artistically,

it does look a little better, but if

382

00:19:00,135 --> 00:19:04,125

you want to have an even number of

trees in your world at your business,

383

00:19:05,085 --> 00:19:08,024

and it's your tree and your world,

and you do it any way that you want.

384

00:19:09,185 --> 00:19:11,855

All right, let's take a little,

a little white, a little bit

385

00:19:11,855 --> 00:19:14,795

of dark Sienna mixed in there.

386

00:19:17,145 --> 00:19:19,905

And let's just put us on

indication here and there a

387

00:19:19,905 --> 00:19:22,245

little, little bit of tree trunk.

388

00:19:22,245 --> 00:19:24,435

It lives nine 11 a lot over here.

389

00:19:25,544 --> 00:19:31,905

So just a little just to indications,

just indications, maybe even back in

390

00:19:31,905 --> 00:19:37,254

there as a little wherever you think

they should live, we can take it.

391

00:19:37,355 --> 00:19:40,264

Same old brush go back through

because it has the tree color on it.

392

00:19:41,225 --> 00:19:44,165

Go back through some CAD yellow and

yellow ochre, little Indian, yellow.

393

00:19:45,314 --> 00:19:48,014

Yellow, a lot of color.

394

00:19:48,074 --> 00:19:49,064

Let's go back up in here.

395

00:19:49,865 --> 00:19:50,885

The light's coming from the left.

396

00:19:50,885 --> 00:19:56,044

So we want to emphasize the left side of

the tree more than the right there we go.

397

00:19:56,435 --> 00:19:58,324

And just begin dropping

in a few highlights.

398

00:19:58,354 --> 00:19:59,104

Don't overdue.

399

00:20:00,064 --> 00:20:03,094

You'll lose all this gorgeous

darkness and evergreens are normally,

400

00:20:03,665 --> 00:20:09,965

normally I say a little bit darker,

then other trees, there they go.

401

00:20:10,965 --> 00:20:12,855

Um, about like it darker, darker, darker.

402

00:20:13,875 --> 00:20:18,695

Now let's go into Vandyke Brown time

to get crazy here, maybe in our world,

403

00:20:18,695 --> 00:20:23,645

their lives, Sue some dirt, big rocks

stones, all kinds of things right

404

00:20:23,645 --> 00:20:29,765

here that easy, that easy there.

405

00:20:32,075 --> 00:20:32,645

All right.

406

00:20:32,645 --> 00:20:34,085

Maybe it comes right on down here.

407

00:20:35,215 --> 00:20:35,945

Might take a little bit.

408

00:20:37,205 --> 00:20:38,255

I was at Brown and white.

409

00:20:38,255 --> 00:20:38,585

We had.

410

00:20:38,985 --> 00:20:40,245

Leftover to the tree trunks.

411

00:20:41,774 --> 00:20:43,965

We just pulled something

out like that, like that.

412

00:20:44,955 --> 00:20:46,575

Then I would take a

lighter Brown and white.

413

00:20:47,445 --> 00:20:48,855

Maybe that one was in shadow.

414

00:20:49,545 --> 00:20:51,435

You sort of make up little things in here.

415

00:20:51,915 --> 00:20:55,455

This one here it's a little

bit, a little bit stronger, a

416

00:20:55,455 --> 00:20:56,595

little more light hitting that.

417

00:20:57,524 --> 00:21:00,135

Just let the knife barely

touch bounce longer.

418

00:21:01,095 --> 00:21:01,845

Barely touching.

419

00:21:02,055 --> 00:21:02,985

Barely, barely touch it.

420

00:21:04,785 --> 00:21:05,355

All right.

421

00:21:05,565 --> 00:21:08,235

You can take and just grip it

here and there and sort of pull

422

00:21:08,235 --> 00:21:12,345

it down and I'll make it look

like a big strong bank, right?

423

00:21:12,395 --> 00:21:14,765

They're that easy.

424

00:21:16,055 --> 00:21:16,745

Our fan burst.

425

00:21:16,745 --> 00:21:18,245

It has the greens on it and stuff.

426

00:21:18,815 --> 00:21:24,785

We just take it in, pop in pushing upward,

pop in the indication, a little bushes

427

00:21:24,785 --> 00:21:26,405

and things that live right out in here.

428

00:21:27,120 --> 00:21:28,949

Yeah, let's have some fun.

429

00:21:28,949 --> 00:21:31,169

I'm going to take a little bit of

bike and put some paint thinner with

430

00:21:31,169 --> 00:21:33,090

it and make it, make it very thin.

431

00:21:33,240 --> 00:21:36,899

I want to thin paint, little

bit of black, put some, I'll

432

00:21:36,899 --> 00:21:37,919

put some Brown in there too.

433

00:21:38,010 --> 00:21:42,000

Black and Brown, but it's very thin.

434

00:21:42,360 --> 00:21:43,649

It's got a lot of paint thinner in it.

435

00:21:45,195 --> 00:21:50,115

Now we'll take some Brown and

some white, a little black in it,

436

00:21:50,475 --> 00:21:51,764

and we'll make a lighter color.

437

00:21:52,215 --> 00:21:53,865

It's also very thin.

438

00:21:55,155 --> 00:21:55,845

It's all there is to it.

439

00:21:55,845 --> 00:21:57,165

Just put a little paint thinner with it.

440

00:21:57,615 --> 00:21:59,024

We take our little Filbert brush.

441

00:22:02,584 --> 00:22:03,754

We'll go right through the dark.

442

00:22:04,379 --> 00:22:05,699

Load both sides full of dark.

443

00:22:06,330 --> 00:22:09,929

And I'm gonna go right down here,

pull only one side through the light.

444

00:22:10,860 --> 00:22:14,879

And with that in one stroke, you can make

all kinds of little indications of little

445

00:22:14,879 --> 00:22:17,750

rocks and stones that live back in here.

446

00:22:18,080 --> 00:22:24,709

My cat now little bit, and I

say that again, a little bit of

447

00:22:24,709 --> 00:22:26,240

titanium white on the two inch bar.

448

00:22:27,050 --> 00:22:32,060

I want to keep his quite dark,

just touch and pull downward.

449

00:22:32,850 --> 00:22:39,840

Pull down her a little bit, just

enough, just enough to show.

450

00:22:39,990 --> 00:22:44,700

I want this water to be very dark

it's mysterious water for that

451

00:22:44,700 --> 00:22:46,440

liquid black comes in so great.

452

00:22:46,650 --> 00:22:49,260

It makes wonderful, wonderful effects.

453

00:22:49,260 --> 00:22:52,580

Like it, little white, little blue.

454

00:22:55,230 --> 00:22:57,480

And then we'll just take

and just touch the canvas.

455

00:22:57,840 --> 00:22:58,680

I'm touching it.

456

00:22:58,680 --> 00:22:59,490

This is thick paint.

457

00:22:59,490 --> 00:23:02,820

Normally I use a thin, thin

paint to do waterlines.

458

00:23:03,570 --> 00:23:04,740

This one's much thicker.

459

00:23:05,190 --> 00:23:06,810

All I'm doing is touching.

460

00:23:06,990 --> 00:23:08,430

Just touch the canvas.

461

00:23:09,150 --> 00:23:10,890

The canvas will take off what it wants.

462

00:23:11,100 --> 00:23:11,700

Give you back.

463

00:23:11,700 --> 00:23:12,360

What's left.

464

00:23:13,530 --> 00:23:14,970

Just like a tax man does.

465

00:23:15,660 --> 00:23:16,200

That's what he does.

466

00:23:16,230 --> 00:23:17,130

My paycheck.

467

00:23:18,330 --> 00:23:18,660

Yeah.

468

00:23:18,690 --> 00:23:22,890

He just takes off what he wants

and what's left it isn't much.

469

00:23:24,585 --> 00:23:26,235

All right back into our dark color.

470

00:23:27,765 --> 00:23:30,855

That was mostly, we had some

pression blue, I think black,

471

00:23:30,915 --> 00:23:32,955

Brown LaSalle, green Crimson.

472

00:23:33,045 --> 00:23:33,555

Didn't matter.

473

00:23:34,845 --> 00:23:38,535

Let's put a little projection that

comes out of this site and all I'm

474

00:23:38,535 --> 00:23:40,005

doing is putting some dark color on.

475

00:23:41,385 --> 00:23:47,115

So our light will show something about

like, yeah, we don't know where it goes.

476

00:23:47,235 --> 00:23:48,195

I don't know that we care.

477

00:23:49,810 --> 00:23:53,460

I got another two inch brush here

that I was using that has green on it.

478

00:23:53,780 --> 00:23:57,139

And with them, yeah, fuck that.

479

00:23:57,470 --> 00:24:00,260

We'll put in just happy,

follow the angles though.

480

00:24:00,320 --> 00:24:04,399

Following and goes most important, little

more of the yellow ochre in that one.

481

00:24:05,060 --> 00:24:08,600

It's just changed the

flavor a little bit there.

482

00:24:08,690 --> 00:24:14,000

See, but all these little things in here,

wherever you want them, wherever you want.

483

00:24:14,000 --> 00:24:15,800

Um, something about like cabin.

484

00:24:17,149 --> 00:24:17,840

There we go.

485

00:24:18,465 --> 00:24:21,915

And you can change angles and stuff,

and all kinds of things will happen

486

00:24:22,784 --> 00:24:24,675

back to our blue and white on the knife.

487

00:24:25,754 --> 00:24:28,065

And let's put a little water line

right around there that sort of just

488

00:24:28,065 --> 00:24:30,405

brings it all to get, to keep it dark.

489

00:24:31,784 --> 00:24:32,534

Very, very dark.

490

00:24:34,215 --> 00:24:34,935

I Filbert brush.

491

00:24:34,965 --> 00:24:35,865

I want to put a rock over there.

492

00:24:35,865 --> 00:24:36,825

I like these little rocks.

493

00:24:36,825 --> 00:24:40,635

They're the most fun to make

bloop, bloop, bloop, one stroke.

494

00:24:40,815 --> 00:24:43,605

And they're in, it's all there is to it.

495

00:24:45,614 --> 00:24:46,155

Shoot.

496

00:24:46,304 --> 00:24:48,155

I think with that, we're

about ready for a signal.

497

00:24:48,175 --> 00:24:50,655

Turn this one, take a little

red, little paint thinner.

498

00:24:51,375 --> 00:24:52,455

We'll call this little painting.

499

00:24:52,455 --> 00:24:53,895

Finished hope you've enjoyed it.

500

00:24:54,405 --> 00:24:55,995

It's a nice way to use the liquid black.

501

00:24:56,594 --> 00:24:58,004

Give you a lot of experience.

502

00:24:59,205 --> 00:25:02,415

I think with that, we're going to call

this one done from all of us here.

503

00:25:02,774 --> 00:25:05,864

I'd like to wish you happy

painting and God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Wednesday, December 30, 2020

S27E02 - Anglers Haven

Bob Ross's

The Joy of Painting

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