Bob Ross's

The Joy of Painting

S27E10 - Sunlight in the Shadows

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Hey, welcome back.

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You know, what's so great about

being the host of your own show.

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You can bring the stone

every once in a while.

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And today it's my privilege, as well

as my pleasure to present to you.

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One of the finest teachers in the

country, as well as one of my closest

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friends, I'd like to present today, mr.

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Dana jester, Dana travels all over

the country and he teaches literally

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thousands of people, the joy of painting.

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And I've asked him to come

down and do a little painting

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and show you how easy it is.

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So Dana, how about doing that?

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Just to find a little painting

there and, uh, I'll handle that.

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Thanks a lot, Bob.

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I'll tell you what we'll do.

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We'll start off by, I'll tell you

how I've have the canvas prepared.

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And while I'm doing that, they'll run

the card across the bottom of your

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screen for you want to start out with

today as an 18 to 24 canvas coated with

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a black Jasso and allowed that to dry.

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And then I put a nice fan, even

code a liquid clear, and then

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very, very thin liquid clear.

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You can take a paper towel after you

put that on and wipe off the excess,

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because if you don't, your paintings

lab will drip down on the floor.

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He wouldn't believe what happens.

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And then next, what I'm going to

have mixed up a color, which was a

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Vandyke Brown and the lizard Crimson,

probably about two thirds, Vandyke

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Brown and one-third lizard Crimson

and coated this portion of the

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canvas here, leaving this area open.

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It's just black.

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Yes.

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Over there.

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So with that, we'll go

ahead and get started.

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We'll mix up a color here and we'll

take some titanium white, go ahead and

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mix up plenty of this color here and.

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A little yellow ochre.

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And if you don't like this color, you

use the color you want in your painting.

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Sometimes I'm doing a painting

and working on it real hard and

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decided in the middle of the Pena.

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I don't like the color and just change.

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Sorry, I'm mixing up quite a bit of this.

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So now I have to get something like that.

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That's good enough.

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Wipe off the old paint off the knife and.

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Grab a two inch brush and

just tap it into paint.

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Like that note no particular way to load.

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Then we'll go right up here to the canvas.

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And you know what, when I do

this, every time I do something

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like this, this is here.

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Remind me of a flame.

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I know flame, and I'm not yet, but

you'll see it here in a second.

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Look at that.

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Yeah, it's a flame on a candle.

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We can pretend like it.

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Anyhow.

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And I'm gonna make this a little

larger than maybe what I want it to

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be on a finished painting because

that dark overpower that real quick.

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We'll have the same color going here.

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We'll just put a little

light right now through here.

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I've poured.

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I thought we'd paint.

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Today's uh, uh, wooded scenery,

something that might look

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nice since I'm from Indiana.

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We need a wooded scene.

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Maybe this here will be.

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A path or something who knows?

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Just go nice horizontal brush

stroke, back and forth on it.

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A little wider at the bottom.

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For perspective purposes, to

help you out a little bit.

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That way it'll go back into the painting

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and why we have the same color going.

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We're going to reload our brush and we'll

go back right over here on this side here.

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No particular order.

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We're just going to indicate some

light every now and then that

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shows through some of those trees.

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What trees?

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Well, I don't know.

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I'll show you here in a little bit.

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X's just getting real loose with it.

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Well, that looks crazy now.

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Doesn't it.

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Now while we're working the same color,

we'll just come right up here and.

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Put a little bit on this side,

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maybe just a little down in here.

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I know it's hard to see on

this black canvas, but trust

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me, there's a little there.

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Now what we're going to do is

go ahead and clean her brush.

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This is the fun part.

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You know what?

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I tried to get Bob to stay on

here, but he just wouldn't do it.

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And he sprayed I've flipped paint on him.

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Like I did the last time.

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And now what the claim brush we'll come

up here and we'll blend and softness down.

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What you're really looking for when

you're doing this is just, well,

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if you wear glasses, it looks like

you need to put your glasses on.

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Yes.

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Something like that.

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Now we'll jump over

here to this other side.

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Landon soften that down a little bit.

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Now with the same brush, I was, I'm

going to do this, come down here and

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beat the excess paint off of it, and

then go in with the same brush and pick

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up titanium wine quite a bit on a brush.

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Just kind of pull it

through there like that.

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And that.

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Makes a nice heavy load on a

brush, and then we'll go up here.

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Splat.

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That's going to be our

brightest area in the painting.

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Go, continue to go back and reload.

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There's a lot of pain on this lot of pain.

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Well, I like this new easel.

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I tell you what, this is nice.

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We'll set that down and let

that brush rest for a minute.

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And we'll use this, this, um,

new looking blender brush here.

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What is real lightly.

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And then on this area here

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and soft and all this down, you don't

want a real, real sharp edge there.

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And over here to same thing.

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Okay, you set that down.

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Hey, we can grab her palette knife

from the mix up a little bit of

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a van Dyke Brown, little van Dyke

Brown, and a touch of titanium wine

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is just a shade lighter

than van Dyke Brown.

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And then we'll work with the fan brush.

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Hold his, go ahead.

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Load the fan brush to chisel, chiseled

edge, quite a bit of paint in the brush.

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Just like that.

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Here we go.

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Now, come up here and start at the top

and just drop in an old tree trunk.

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It might be an it's a new tree trunk.

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That's right.

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That's not an old one.

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Reload.

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And there might've been an old,

crooked little old friend right there.

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And of course we have a

bunch of trees in here.

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This just indicate the tree trunks

themselves, some bigger tree over

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here at this point of the paint.

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I always look at it and say, is

this going to make a painting?

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Who you never know?

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I tell you.

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But no worries.

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You can do it.

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It's not that hard once you tried.

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Now, we'll jump over here on the

other side and put in a couple

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little tree trunks over here.

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We don't want this side to feel left out

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ham, put that old brush down

and we'll grab a clean two inch

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brush and then we'll lightly.

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Follow the same direction that

you put the tree drunks on

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and blend and soft nose down.

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That'll that'll set them back into

pain and then we'll go over here

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to this side, do the same thing.

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Okay.

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Well with that, we'll go ahead

and stop in some dark color here.

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Really get carried away here.

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When I'm talking two classes, I

called us this the four o'clock stomp.

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So, um, when it gets close to the end of

the day, I'll just grab the old breasts.

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Let's do the four o'clock stomp.

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It may be two 30, but that gets a movie.

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And I tell you, and we'll go

right up here and we'll start

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by tapping in some indications

and some trees or some foliage.

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Anyhow, if you want it to get softer,

just tap a little more on its outer edge.

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And it'll soften up because it's working

into your, to your light color there.

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Damn.

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I don't want to get too carried

away, but you need to have a

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little bit of this foliage on here.

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So in order to see your

light, you need the dark.

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So if you just keep that in mind, every

time you do one of these now, when

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you get down here on these smaller

bushes, what you want to do is tap

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and pull and do your pain like that.

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And we'll go up to the other

side in corner and we'll tap

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Wharf, origin and new trees.

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And I tell you what sometimes the quicker

you do this, the better off you are.

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If you move along real quick and

brush this in there, more than likely

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we'll have a better looking painting.

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Hand outs probably don't make sense when

you load this brush, just tap like this.

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And do your paint and get that little

roll of paint out there on the end, just

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like that, push it in there like that

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and save some that sky.

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Or you don't want to kill

all your, your light.

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Now, before we get too carried

away over here toward the center,

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what we better do is put in some of

this, uh, mixture here, which is.

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A little bit of yellow ochre, the

mixture we used earlier and the light

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area there and add a little more yellow

color to it as such yellow, ochre white.

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And let's do one more thing to it.

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Touch of a lizard are two touches.

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If you want him and.

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Take your two inch brush, just

tap right in your paint like that.

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That's where you get that little

Ridge of pain out there like that.

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And put some distant

bushes in here are faint.

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Little trees

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is just put a basic tree shape

on there and then get a claim

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brushing and, uh, Tap over it and

soften them down a little bit more.

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And that's what we'll do.

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We'll just grab another

clean two inch brush.

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I have plenty of brushes here.

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Thank goodness.

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The on, uh, this tap right

along his head and pull down.

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And the same goes with this over here.

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Now we'll go back to her own dirty

Brown brush to save some time.

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We'll load her brush into the

paint, just like this again, pushing

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it into your paint like that.

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And we'll come right up here

and put in a big tree here.

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That's a monster there.

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He sneaks around on out

here and toward the light.

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Keep reloading your brush.

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Maybe dark in order to show your lights.

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So keep that in mind

when you're doing this.

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And if he, like I say, if you don't

like these colors, you can always change

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your, you don't have to follow this

exact and down over here in this area.

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I want to turn the brush

and use it vertically.

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When I tap onto the canvas, just indicates

some different size bushes there.

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Go back and reload again, same color

an app with some more the bushes

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underneath these larger trees.

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And why do I have that same color going?

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What is reload?

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And get some more bushes

over here on this other side

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that creates this by this little mess

here at a creative, um, layered look like

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there's more depth than your painting.

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Okay.

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We'll put that brush down and

go back with our fan brush.

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And some Vandyke Brown, some

midnight black, and we're just

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looking for a good dark color.

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So that's fine.

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What else go right up here?

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And maybe there's a tree trunk

that you can see right there.

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And then it skips along and

maybe hit someone right here.

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So hit and miss method.

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That's what it is.

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I know on your, it's probably hard

for you to see, but it's there and

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it comes down and is like that.

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And maybe there's one more larger

tray sneaking in right here.

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Just kind of let your brush bounce.

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If it's hard for it to stick, it'll

relieve, release more paint and it'll stay

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right there on the canvas quicker for you.

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Then we'll grab a liner brush and

we'll go down into our thinner here

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and thin down some Vandyke Brown.

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I'm picking up quite a bit of

thinner because it takes, uh,

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it takes a lot thinner to.

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Make the liner brush load.

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Right.

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And after you get this pretty well,

thinned down, just spin it through

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the paint like that, roll it loads the

entire bristle, and then go up here

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and hold back on the brush and then

just lightly, let it flip off there.

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Oops.

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I forgot you need to

make some sound effects.

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These old things.

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I tell you if he'd drink about

four cups of coffin and try this,

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you have to be in better shape.

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I want you to have a nervous hand there

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and in your world, as you know,

you've heard before, you can

248

00:15:31,575 --> 00:15:35,925

put these branches as many as

you want, or as few as you want.

249

00:15:39,885 --> 00:15:42,345

I do that in a lot of, a lot of workshops.

250

00:15:42,345 --> 00:15:47,895

Like when we're teaching the teachers,

uh, I'll go making these sound effects

251

00:15:47,895 --> 00:15:49,155

and then they start copying that.

252

00:15:49,155 --> 00:15:49,305

And.

253

00:15:50,025 --> 00:15:55,125

Seems like it works a little bit better,

but anything out, something like that,

254

00:15:55,125 --> 00:15:59,205

just throw you a couple little sticks

twigs down there at the bottom right here.

255

00:16:00,435 --> 00:16:01,875

Maybe a couple of dead ones in there.

256

00:16:03,855 --> 00:16:05,325

And I have to add some

more thinner to that

257

00:16:08,985 --> 00:16:11,505

and we'll put up, we don't want

this side to feel left out.

258

00:16:11,505 --> 00:16:12,825

So we'll put a couple over here.

259

00:16:16,365 --> 00:16:18,615

Kind of reminds me sometimes I get

carried away with this and it looks.

260

00:16:19,065 --> 00:16:21,585

Like maybe there's a deer hammer

sticking his head out there.

261

00:16:23,685 --> 00:16:24,765

It might be, I don't know.

262

00:16:24,825 --> 00:16:28,755

You know, we don't want some of these

trees right here to feel left out.

263

00:16:28,755 --> 00:16:30,315

Like these guys right here.

264

00:16:30,315 --> 00:16:31,425

They need a branch or two

265

00:16:36,825 --> 00:16:37,515

zip it.

266

00:16:38,925 --> 00:16:41,025

See if you just kind of flip them

on there, you're in better shape.

267

00:16:41,025 --> 00:16:41,835

Let's do one more.

268

00:16:41,835 --> 00:16:43,335

And then we'll move on

to something else here.

269

00:16:43,335 --> 00:16:46,245

Over here on this side, put

a couple on this guy here.

270

00:16:46,245 --> 00:16:47,445

We don't want him to feel left out.

271

00:16:49,230 --> 00:16:52,650

He'll feel like he's naked, standing

out there in the woods without some

272

00:16:52,650 --> 00:16:58,500

branches on him and see if you just

flip them on her and get carried away.

273

00:16:58,500 --> 00:17:02,730

Sometimes it looks even

better and sometimes it did.

274

00:17:06,660 --> 00:17:07,200

Okay.

275

00:17:07,200 --> 00:17:11,940

Let's clean that liner brush let's

go grab has a clean fan brush

276

00:17:12,960 --> 00:17:16,349

and a little bit of liquid wine.

277

00:17:18,405 --> 00:17:25,004

And some of this dark, uh, Vandyke

Brown and some liquid wine.

278

00:17:25,764 --> 00:17:31,335

What tap is in a couple of little

highlights on, on these trees and

279

00:17:31,335 --> 00:17:32,715

the light sources coming from here.

280

00:17:32,715 --> 00:17:35,445

So what is taking tap

right down through here

281

00:17:39,465 --> 00:17:45,165

now, maybe that tree trunk will show up

a little bit, stand out just the visual.

282

00:17:47,235 --> 00:17:51,705

Just tap it mainly on the left-hand side

there, and then just let it get darker

283

00:17:51,705 --> 00:17:55,695

and darker as you go to the other side,

keep going back and reload your brush.

284

00:17:56,205 --> 00:17:58,605

Let's do this old fellow

standing right here.

285

00:18:08,385 --> 00:18:13,215

Now with that, I think we probably

better put it in a couple of little.

286

00:18:14,430 --> 00:18:17,910

Lighter areas like maybe the lights really

striking down through here on his path.

287

00:18:18,480 --> 00:18:21,840

And I'm just going to pick up with

the fan brush some straight titanium,

288

00:18:21,840 --> 00:18:26,100

Hawaiian, quite a bit of it on the

brush, a little bit to chiseled edge.

289

00:18:27,270 --> 00:18:32,610

And there's a lot of paint

left there on the canvas now.

290

00:18:32,610 --> 00:18:37,170

And what I'll do with this fan brush down

and just go back and forth on this, just

291

00:18:37,170 --> 00:18:41,940

hitting a miss like that, and maybe just.

292

00:18:43,620 --> 00:18:49,080

Back and forth a little rocking stroke,

just like that, till it just goes

293

00:18:49,080 --> 00:18:53,850

into, back into nothing that kind of

sets that path off a little bit more.

294

00:18:55,230 --> 00:18:55,590

Okay.

295

00:18:55,590 --> 00:18:58,620

Let's let's take a clean, the lesson.

296

00:18:58,620 --> 00:18:59,820

Get is a clean brush here.

297

00:18:59,970 --> 00:19:00,480

Okay.

298

00:19:01,200 --> 00:19:03,330

We'll take a clean two inch brush.

299

00:19:05,415 --> 00:19:08,025

After I get one clean here and

that's, uh, that's what you get for

300

00:19:08,025 --> 00:19:09,855

being lazy and let them stack up.

301

00:19:09,975 --> 00:19:10,785

I'm bad about that.

302

00:19:11,355 --> 00:19:12,615

Whenever I'm doing a class too.

303

00:19:14,625 --> 00:19:15,015

Okay.

304

00:19:15,015 --> 00:19:18,405

Now with this two inch brush, what

we'll do is go ahead and tap into our

305

00:19:19,245 --> 00:19:21,435

yellow, yellow ochre and white mix.

306

00:19:22,545 --> 00:19:24,285

And I need to see why

I've made so much of it.

307

00:19:24,795 --> 00:19:27,225

And then I push it into

the paint, just like that.

308

00:19:28,755 --> 00:19:30,555

We'll go up here and highlight

these little Rascals.

309

00:19:33,195 --> 00:19:39,075

Just a lot of paint and a little,

little light touch continually

310

00:19:39,075 --> 00:19:41,025

going back and reloading that brush.

311

00:19:42,735 --> 00:19:47,415

Uh, you know what I tell them

also, no paint, no painting.

312

00:19:47,415 --> 00:19:49,575

So keep going back and reload that brush.

313

00:19:52,845 --> 00:19:56,355

We're just, again, it's like

I was saying, we tap and push

314

00:19:56,355 --> 00:19:57,585

it into things just like that.

315

00:20:06,854 --> 00:20:09,014

And we don't want this side

over here to fill left out.

316

00:20:12,875 --> 00:20:18,125

You'll just need to continually go back

and reload your brush, let it get darker

317

00:20:18,125 --> 00:20:21,094

and darker and darker as you get further

up into the corner of the painting.

318

00:20:24,844 --> 00:20:26,405

No, you know what I would do?

319

00:20:26,465 --> 00:20:27,064

So maybe Adam.

320

00:20:27,495 --> 00:20:33,615

A touch more lesbian trims into this

and change the flavor a little bit

321

00:20:34,095 --> 00:20:37,065

and put in some different colors

right here on these guys here

322

00:20:43,935 --> 00:20:45,045

really love to brash.

323

00:20:46,335 --> 00:20:50,325

That's one thing you got

to continually do because.

324

00:20:54,345 --> 00:21:00,095

Okay, let's change the flavor a little

bit more, more lesbian getting into

325

00:21:00,105 --> 00:21:01,965

yellow Carmex again, more Lisbon.

326

00:21:03,284 --> 00:21:05,385

And we'll pounce in a

couple of them right here.

327

00:21:05,415 --> 00:21:05,955

Like I said,

328

00:21:10,455 --> 00:21:13,004

maybe I'll tell you why.

329

00:21:13,034 --> 00:21:14,715

Just vary your colors to what you want.

330

00:21:15,690 --> 00:21:17,220

This just happens to be

what I'm going to work with.

331

00:21:17,460 --> 00:21:20,180

Now, as I work on across the

painting, I might want to darken

332

00:21:20,200 --> 00:21:23,910

up, I'm going to add a little bit

of a fan light Brown and lizard mix.

333

00:21:23,910 --> 00:21:26,730

So it's not quite as bright,

but it's still pretty bright.

334

00:21:27,350 --> 00:21:28,700

I have, it's a little darker over here,

335

00:21:32,720 --> 00:21:34,550

but at least you can

still see a Bush there.

336

00:21:35,390 --> 00:21:36,290

Same color.

337

00:21:40,070 --> 00:21:41,240

There it is grown down here.

338

00:21:42,885 --> 00:21:43,845

Basically these trees.

339

00:21:50,895 --> 00:21:53,885

And since this is not so

bright, we use the same.

340

00:21:55,085 --> 00:21:59,225

That's on the highlighted for this tree

back here, the foliage just a little bit.

341

00:22:00,155 --> 00:22:01,385

We don't want a whole lot on here.

342

00:22:05,015 --> 00:22:06,965

I can see just a little touch of it.

343

00:22:06,965 --> 00:22:07,325

There.

344

00:22:11,030 --> 00:22:15,050

and now what we'll do ahead is go

ahead and clean them, clean that brush.

345

00:22:21,080 --> 00:22:25,130

What about the excess thinner that's

that's the final part and beat it.

346

00:22:26,450 --> 00:22:28,760

And then what we'll do

is go in that mixture.

347

00:22:28,760 --> 00:22:31,340

It was just working with, I just

want to clean the brush so I to

348

00:22:31,340 --> 00:22:32,990

load it and get a better load.

349

00:22:32,990 --> 00:22:36,080

So there you can see where that

little roll paint, little Ridge.

350

00:22:38,310 --> 00:22:40,980

That way we form the land

here, the lay of the land.

351

00:22:42,390 --> 00:22:43,650

This is your being your lightest stereo.

352

00:22:43,650 --> 00:22:47,100

It's safer to start riding here and fall.

353

00:22:47,100 --> 00:22:52,980

This angle is lay of the land

as if not, we'll be in trouble

354

00:22:56,550 --> 00:22:57,060

at home.

355

00:22:57,070 --> 00:23:03,060

You can always take your time

and do whatever to it here.

356

00:23:04,620 --> 00:23:06,990

Just SEO sound effects.

357

00:23:06,990 --> 00:23:07,860

That helps a lot.

358

00:23:10,399 --> 00:23:13,520

That's also important as you're doing

this to save just a little bit of

359

00:23:13,520 --> 00:23:21,379

dark, go back and reload the brush

and get us another little bit of

360

00:23:21,379 --> 00:23:22,700

land sticking out here on this side.

361

00:23:30,405 --> 00:23:32,385

Then after you pretty well have

it in there like that, there's not

362

00:23:32,385 --> 00:23:33,614

that much paint left in the brush.

363

00:23:33,614 --> 00:23:36,735

So what I would do is go ahead and

just take this same brush and very

364

00:23:36,735 --> 00:23:39,014

lightly tap right underneath here.

365

00:23:39,854 --> 00:23:43,094

So you don't have that real dark,

straight, sharp edge up there.

366

00:23:45,195 --> 00:23:46,274

It looks like it's attached.

367

00:23:46,465 --> 00:23:47,895

Same thing for this other side.

368

00:23:50,655 --> 00:23:53,415

Then now I want to brighten this area

right in here up a little bit more.

369

00:23:54,840 --> 00:24:00,210

I'm gonna load some, my yellow ochre

and white it's like that and brighten

370

00:24:00,210 --> 00:24:03,450

it up just a little bit where the light

may be hitting it just a little more.

371

00:24:09,820 --> 00:24:10,400

What was that?

372

00:24:10,430 --> 00:24:11,780

A couple of those in there

373

00:24:17,810 --> 00:24:19,880

that just shows the light

hitting on top of those mounds.

374

00:24:21,870 --> 00:24:26,340

Yeah, grab a clean fan brush, pick

up some Vandyke Brown and midnight

375

00:24:26,340 --> 00:24:33,780

black and put in a couple of little

rocks, maybe three or four rocks there.

376

00:24:36,570 --> 00:24:39,000

You can put as many or as

few in your pain as you want.

377

00:24:41,110 --> 00:24:47,280

Then with some titanium white liquid wine

and that little bit of Vandyke Brown.

378

00:24:48,930 --> 00:24:49,500

Well.

379

00:24:49,875 --> 00:24:52,095

Stick a little bit of

highlight on top of those.

380

00:24:52,755 --> 00:24:57,705

And I tell you, the old camera on the wall

says it's about time to get out of here.

381

00:24:57,705 --> 00:25:02,345

So with that, I hope you've

enjoyed his painting and uh,

382

00:25:02,495 --> 00:25:04,085

till next time happy painting.

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S27E10 - Sunlight in the Shadows

Bob Ross's

The Joy of Painting

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