Bob Ross's

The Joy of Painting

S28E04 - Golden Rays Of Sunlight

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Hi, welcome back.

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Certainly glad you could join us today.

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I thought today I'd show

you a little painting.

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That is so simple that even

if you've never painted.

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You can do this one guarantee.

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In fact, it's one of the little

paintings that you see in the opening.

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I thought maybe we'd show

you how that was done.

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So I'll tell you what, let me show

you what I've got up here today.

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I just have a plain old double

prime canvas and I've painted it

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with black Jesso and allowed the

black Jesso to dry completely.

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So it's totally dry.

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And we're going to start out today.

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And just use a, we'll just use a paper

towel that I've wanted up here, and

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I'm going to show you how to take.

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So we use black, white, and gray

Jesso in different combinations up

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here, and I'll show you how to make a

little back painting and it will come

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back and I'll put a canvas up that

has a finished Jesso painting on it.

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And I'll show you how to color it.

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It's that easy.

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It's harder to tell you

than it is to show you.

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So we'll just take our little paper

towel and I've just got a little

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plastic tray here that are, that are

picked up and I'm just going to dip a

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paper, Tel C right into a little bit

of Jesso and let's go right up here.

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First thing we want to do is

figure out where our light

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sources and all you have to do.

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Maybe it's right here, just

a little bit off center.

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Start with the lightest area

and begin working outward.

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Let's see, maybe this is a joy of paper

towel painting there, but you want this

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to be your brightest area in the painting.

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So we just start from there and we work

outward, outward, outward, outward.

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There it didn't, that's fantastic.

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These colors, just, those

are just unbelievable.

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They do wonderful things for you.

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They open whole new doors of imagination.

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There we go a little bit more

notice, always start back in the

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center with that brightest color.

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And if you get a little buildups

of Jesso here, that's wonderful.

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That's wonderful.

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When the painting's finished those

little high points, we'll grab the paint

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and it makes beautiful things happen.

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Don't fight with them.

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All right.

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A little bit more wherever.

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And if you do a thousand of these,

each one of them will be different,

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but what's so great about them.

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Once again, even if you've never, never

painted a painting in your whole life.

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This is one that you can do recently.

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When we had our teachers reunion, we

had a gentleman with us, Mike Oreck,

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who had never painted in his whole life

and, and he works with a paint company.

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So we got that rascal up in front

of the front of all these certified

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instructors from all over the world.

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And we had Mike paint, his first

painting and he did a beautiful job.

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And this is the one that he painted there.

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So I wanted to share that with you a

little bit over in here once again, but

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this just so we don't make any mistakes,

because if you, if you paint an area to

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light and you don't like it, all you have

to do is take a little of the dark Jessel.

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You can go back over.

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It is no big deal.

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Something about like that.

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That's all we're looking

for for a background.

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All right.

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A little bit of the gray hair in there.

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Cause I want this to be a little

darker out on the edges so that it

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looks like we have sunlight in the

center and it's working outward.

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So I'm just using a

little bit of the gracias.

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So right over the top.

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See.

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So if you don't, if you don't like

it, if it's too bright or too dull,

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you can change it easy because

this really is your world in here.

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You can do anything and

anything unlimited power.

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Normally, if I was at home doing

this, I would allow this to dry.

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It didn't take, but a few minutes

since this is Jesso, I'd allow it to

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dry before I started the next thing.

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But here we don't have that luxury.

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So I'll just show you how you go

about putting the next layer on.

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We'll just pretend that it's dry, but when

you're doing this yourself, I'd really

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recommend you allow this step to dry

completely before you do the next one.

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It's just, it's just a

little bit easier to do.

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Now, this takes a very complicated tool.

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This is called a foam brush.

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That's all it is.

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It's just a little disposable foam brush.

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Now we're where we have the light area.

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I'm going to use black Jesso,

where we have a dark area.

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I'll use white Jesso

and gray in the middle.

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I want to graduate the color.

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That's all we're doing.

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So let's start and do some

little background trees.

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I'll take his little foam brush

and go through a little bit of

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the black Jesso, just loaded up.

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It doesn't really matter, but

something about like, so, okay.

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See, we have both sides with a little

bit of black on, I hope it shows.

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And we go up in here and we have

to make our first major decision

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where appear does our tree lift.

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All you do is touch and as you

work down, apply more pressure.

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More pressure and automatically your tree

trunk will get larger toward the base.

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And trees normally look better if they're

bigger on the bottom SU there we go.

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Something about like, so, so you just put

in as many or as few trees as you want

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in your world, it's all there is to it.

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It's really all there is to it.

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There's no secrets here.

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Now I'm going to start going

into some of the gray jus so.

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Cause he's over here.

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They're farther away from the light.

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So when we're done the gray, Jess, I

will be a little bit brighter and we

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can go right into pure white there.

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Let's see the variation

saw there is to it.

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Maybe we'll just do a couple of white

ones here so you can see how they're done.

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We've painted the whole

forest here just a second.

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But that's really all there is to it.

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You just sorta worked back and forth

and wherever he wanted to go, maybe over

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here on this side, maybe there's a tree.

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That's got a little crooked trees.

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Aren't all straight.

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Some of them have old crooked areas.

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It doesn't matter.

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Back into her gray and her

white, same basic thing.

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If other, you get away from

the light source, the lighter

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you want these to become.

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And when we paint it, you'll understand

why a little bit of the gray there.

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When we apply oil color over

the top of this dry Jesso, then

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all of this makes makes sense.

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Now I've got a little script Lander brush.

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It's just our original script liner brush.

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Okay.

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And I'm going to add water.

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I'm going to use water.

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Like we normally do paint

thinner just to thin the Jesso.

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So it's nice and thin.

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Okay.

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We can go up in here and we can decide

there's always little baby trees

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live in amongst all these big ones.

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So we can put little more, little

delicate trees and sticks and twigs.

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If you have enough water,

this'll just slide right over it.

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There.

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And we can begin.

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We can begin applying all kinds of

little limbs and arms on these trees

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wherever you think they should live.

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That's exactly where they should be.

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There we go.

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See them already.

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It's beginning to look like

it's deep in the woods.

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You know, what's neat when

you're done with these.

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Some of the, some people look at it

and they like the black and white Jesso

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version, as well as they do the colored

version that what you end up with.

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So this is an excellent

way to study value.

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Just black and white.

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When I was a young pup and went to art

school, this is one of the things they

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had us do to learn, to learn to paint.

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We would take something like temper

paints, just in black and white,

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and we had to do entire paintings.

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So we understood value.

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This is a lot more fun and a lot easier.

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There we go.

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And back in here, pretty soon, you,

you don't even know where these

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little limbs and arms who they

belong to that know that it matters.

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It's just filter for the background

and I'm not going to sit here and paint

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each and every one of these trees.

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I just want you to see basically how

these trees are done something like, so,

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and as you work across over into here

and you get into the white trees, then

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you use white Jesso to make its arms.

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Out by cab.

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I'll put a few on this old tree here.

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Just crooked helium, just so

we can see what he looks like.

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Okay.

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And give you trees, character.

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Don't don't just make them perfectly

straight with arms that come out.

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Both sides.

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Let your brush that's your breasts.

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Just have an imagination all on its own.

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Let it go.

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And as you play with this, you'll begin

to, you'll begin to shade areas by that.

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I mean, you'll take a combination of the

gray and white and mix it together and you

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can shade the side of trees for, you know,

light will be coming from it's unreal.

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What you can do with this, you can

actually paint things like little

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barns or whatever with Jessie, and

then just come back and put an oil

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glaze, basically over the top of them.

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It's that easy.

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Kenny, let me just do one

or two little white ones.

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So you can see how they're

done over here on this side.

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So you can just bring little white arms

right off him, the water, my water here.

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There we go, nephew, use your good

liner brush for this as soon as you're

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done, as soon as you're done wash it

well with good, good amount of water,

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because your little liner brush.

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If you let that rascal, if you let

that Jesso get hard at it, you've

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earned your brush and don't want you

to have to go buy a new brush there.

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Take care of your brushes.

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And they'll last for many, many years.

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Another little thing.

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It's real good.

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Have some Liam's coming from over here

where you don't know where they are.

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They're back over there somewhere because

the trees didn't just stop right there.

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Let some Liam's come from over here.

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It doesn't matter from where, but it'll

make your painting look more realistic.

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Some of them sticks and twigs,

little bit of gray Jesso here and

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there to make some great arms.

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But isn't that neat how you can

make a whole forest that easy.

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And that's all there is to it.

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As I say, I'm not going to just

spend the whole time period that we

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have here showing you just how to do

background trees and the one that,

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that you see in the little opening.

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There's one big monster tree, and

we can go back to our little foam

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brush, put some black Jesso on it.

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And let's go back up in here and I

just use the foam breast to do this.

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Just figure out where he lives and go.

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got to make all those noises

and put a big old tree.

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He lives right there.

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I wanted him to come right across

there, but these little disposable

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foam brushes work very good for this.

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There is, he's got a big arm.

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It lives out here, one over here.

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We don't know wherever you want them.

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And then go back to little liner brush.

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And once again, you can add all

the details that you want into your

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painting, all the details you want.

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I'm just going to put a few in to show

you how they're done, because when you

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do yours, you're going to see a totally

different, and it's going to be better.

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It's going to be much

better than this one.

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Cause you'll have unlimited

time and patience and your

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imagination is probably better.

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So you'll make it, you'll

make beautiful things.

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And when you're doing these,

I'm going to put transparent

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color over this pretty soon.

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Try all different color combinations,

transparent, and semi-transparent

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makes beautiful, beautiful things.

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Yeah.

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Down here on the bottom.

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We're going to put some

little indications.

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You could do it with a

paper towel, obvious.

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Use this little foam brush.

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Thanks for lights coming through.

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And I'm just gonna take a little

foam brush and just touch.

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Just touch.

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You can do it with anything.

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See, they're just Jesso, just white Jesso.

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I'm going into some grade Yesodi, but

I want the edges to be nice and bright.

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There.

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See, maybe over here on the other

side, just a little bit more of that

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to sort of bring all this together,

it's up to you, or you want these

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things to live back into the gray.

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So it gets a little duller here and there.

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We can even take a little black,

just play these back and forth.

243

00:13:54,240 --> 00:13:56,490

So you get all these beautiful variations.

244

00:13:58,709 --> 00:14:06,360

There maybe right in there, whatever

it doesn't matter, but you can use

245

00:14:06,360 --> 00:14:10,469

the brush any way you want to sideways

straight on, and each way will create

246

00:14:10,589 --> 00:14:16,620

new and unique, different effects, a

little more of this gray, maybe right

247

00:14:16,620 --> 00:14:21,300

in there like that, that might be, we

want to put a little path in there.

248

00:14:22,949 --> 00:14:25,410

I'm using a little black,

little gray mixed together here.

249

00:14:25,439 --> 00:14:26,849

Figure out where your path lives.

250

00:14:28,980 --> 00:14:35,640

And just take this little foam

brush and basically lay it in there.

251

00:14:36,360 --> 00:14:36,750

That's all.

252

00:14:37,620 --> 00:14:38,220

That's all.

253

00:14:39,230 --> 00:14:41,540

And just like when we're normally

painting, we need to lay that

254

00:14:41,540 --> 00:14:42,770

path down in there a little bit.

255

00:14:42,770 --> 00:14:51,620

So we put a Bush over here on this side,

just like, so, Oh, I want the front of

256

00:14:51,620 --> 00:14:54,829

it to be darker than up there, because

it would be closer to the light source.

257

00:14:57,900 --> 00:14:58,380

Bye cat.

258

00:15:00,710 --> 00:15:01,070

Okay.

259

00:15:01,070 --> 00:15:05,690

I think that'll pretty much show

us how to do the little background.

260

00:15:06,050 --> 00:15:11,060

As I say, I would let it dry

between each and every layer.

261

00:15:11,720 --> 00:15:13,730

Now I want to show you

the completed painting.

262

00:15:13,730 --> 00:15:16,820

So I've went ahead and I've,

I've got a canvas here.

263

00:15:16,820 --> 00:15:19,400

That's all dry that I've

prepared exactly the same way.

264

00:15:19,730 --> 00:15:23,600

So allow me to step in front of this for

just a second and change this canvas.

265

00:15:24,560 --> 00:15:24,650

Okay.

266

00:15:24,960 --> 00:15:27,090

And put up one that's already finished.

267

00:15:28,070 --> 00:15:30,350

So I can just show you

how easy this painting is.

268

00:15:30,350 --> 00:15:34,580

Once you have your, you have

you just so in there, it really

269

00:15:34,580 --> 00:15:36,020

makes it very simple to do.

270

00:15:37,430 --> 00:15:40,280

And I think at this time we were to have

them run the colors across the screen

271

00:15:40,280 --> 00:15:42,770

that you need to do yours along with us.

272

00:15:44,330 --> 00:15:44,720

Okay.

273

00:15:44,720 --> 00:15:45,590

While they're doing that.

274

00:15:46,215 --> 00:15:50,565

I'm going to take a little bit of liquid

clear and cover the entire canvas.

275

00:15:50,565 --> 00:15:56,475

Just, just enough to be sure that the

canvas is covered from one end of the,

276

00:15:57,555 --> 00:15:59,985

but a thin coat, just a thin coat.

277

00:16:01,185 --> 00:16:04,905

Once again, allow you just so to dry

completely before you do this, because

278

00:16:04,905 --> 00:16:11,955

you cannot mix oils and Jesso together

while you're painting, you have to let

279

00:16:11,955 --> 00:16:16,305

the, let the Jesso dry in between there.

280

00:16:16,860 --> 00:16:18,720

This is the hardest

part of the whole paint.

281

00:16:18,810 --> 00:16:22,410

If you can put the liquid clear

off the rest of it's easy.

282

00:16:23,090 --> 00:16:23,300

Okay.

283

00:16:27,660 --> 00:16:32,180

But even like this got a hair there,

even like this, this is very effective.

284

00:16:32,180 --> 00:16:33,980

People like these just

in black and whites.

285

00:16:35,930 --> 00:16:36,380

Right.

286

00:16:38,960 --> 00:16:39,770

And that quickly.

287

00:16:40,560 --> 00:16:46,530

We have the entire thing covered for the

very thin even coasts of the liquid clear,

288

00:16:50,730 --> 00:16:54,390

I'm just using long, horizontal and

vertical strokes to assure that that is

289

00:16:54,390 --> 00:16:56,370

distributed across the canvas evenly.

290

00:16:58,050 --> 00:17:00,600

Now, if you're in doubt and you

think possibly that you may have too

291

00:17:00,600 --> 00:17:04,460

much of the liquid clear, I would

take a paper towel and wipe it.

292

00:17:05,025 --> 00:17:07,755

What's left will be just right now.

293

00:17:07,755 --> 00:17:12,045

Then let me show you how easy

this is to I'm going to go right

294

00:17:12,045 --> 00:17:15,135

into small amount of thalo blue.

295

00:17:16,305 --> 00:17:19,275

They low blue, very little paints

are required for this painting.

296

00:17:19,335 --> 00:17:20,715

Very, very little.

297

00:17:20,960 --> 00:17:22,040

You can always add more.

298

00:17:22,069 --> 00:17:24,470

Let's go up here, start at the top.

299

00:17:26,180 --> 00:17:32,480

And all we're doing in reality is putting

a glaze right over the top of our GSO.

300

00:17:33,890 --> 00:17:35,000

Isn't that fantastic.

301

00:17:35,870 --> 00:17:40,340

This makes some of the most gorgeous

little paintings and they're wonderful

302

00:17:40,340 --> 00:17:43,340

to do for friends and family,

because they'll just be amazed.

303

00:17:43,890 --> 00:17:45,000

And how fast they happen.

304

00:17:46,230 --> 00:17:51,510

I'm gonna take that right now to just the

tops of these little bushy, looking at

305

00:17:51,510 --> 00:17:59,060

things there, liquid clears, one of the

neatest things we've ever come up with.

306

00:17:59,060 --> 00:18:02,060

It really does now

307

00:18:05,570 --> 00:18:07,610

gorgeous, deep blue.

308

00:18:08,240 --> 00:18:11,240

Now the edges of it, I'm going to take

a little pressure and blood pressure and

309

00:18:11,240 --> 00:18:12,950

blue is much stronger than they look blue.

310

00:18:13,225 --> 00:18:17,665

That's very, very strong, take a

little depression blue and just do

311

00:18:17,665 --> 00:18:22,104

the corners in order to make this look

lighter, you need to make the corners

312

00:18:22,165 --> 00:18:24,865

look darker and we'll accomplish that.

313

00:18:24,895 --> 00:18:29,445

Just like so, all right.

314

00:18:29,804 --> 00:18:33,195

And that's, as far as I'm

going with that now, maybe.

315

00:18:34,215 --> 00:18:37,995

Let's see here, I've got several

brushes going right in here.

316

00:18:38,205 --> 00:18:38,564

Watch.

317

00:18:38,834 --> 00:18:40,544

I want to take Indian yellow.

318

00:18:41,264 --> 00:18:43,274

Once again, you need very little paint.

319

00:18:44,235 --> 00:18:44,564

Indian.

320

00:18:44,564 --> 00:18:46,155

Yellow is transparent.

321

00:18:46,544 --> 00:18:46,665

Okay.

322

00:18:46,665 --> 00:18:47,415

Let's go up in here.

323

00:18:47,895 --> 00:18:50,534

That's the reason I picked the Indian

yellow over the other yellows we use.

324

00:18:51,780 --> 00:18:52,979

And I'm going to start right in here.

325

00:18:56,129 --> 00:18:57,179

We just covered the whole thing.

326

00:18:57,179 --> 00:18:57,689

It doesn't matter

327

00:19:02,520 --> 00:19:07,070

with Indian yellow, but

notice we intentionally let a

328

00:19:07,070 --> 00:19:08,449

little, that blue come down.

329

00:19:08,540 --> 00:19:11,419

The reason is because when we

touch it now with this yellow.

330

00:19:12,330 --> 00:19:15,360

It's going to create a greenish cast.

331

00:19:16,650 --> 00:19:20,130

It's not going to be bright green,

but it'll give the indication to

332

00:19:20,130 --> 00:19:22,410

the eye that there's green there.

333

00:19:23,430 --> 00:19:27,630

If you want it bright green, you can use

SAP green, which is a very transparent

334

00:19:27,630 --> 00:19:31,260

green where you can just allow more

of the blue to come down either way.

335

00:19:33,090 --> 00:19:38,490

Now we'll take some alizarin

Crimson, SAP green, mix it together.

336

00:19:39,090 --> 00:19:40,919

A little more of the Crimson and SAP.

337

00:19:40,919 --> 00:19:45,000

I want it to the ready side came,

let me wipe off the old knife.

338

00:19:46,785 --> 00:19:52,305

And take a little bit of that

on the two inch brush, you know,

339

00:19:52,315 --> 00:19:53,475

that let's start at the base.

340

00:19:53,945 --> 00:20:00,425

I want this to be the darkest, so

we'll start here and work upward there.

341

00:20:00,725 --> 00:20:05,645

So that'll give it a very dark look

back in there and to bring it up

342

00:20:05,645 --> 00:20:06,965

to wherever you want it to stop.

343

00:20:08,165 --> 00:20:09,185

But isn't that gorgeous.

344

00:20:10,245 --> 00:20:15,045

And it's so easy once again, if you've

never painted in your whole life,

345

00:20:15,975 --> 00:20:21,315

this is when you were to try, this

is when you're at a truck because

346

00:20:21,315 --> 00:20:22,635

you can't make a mistake with it.

347

00:20:22,635 --> 00:20:23,445

It was so easy.

348

00:20:24,725 --> 00:20:27,575

That's some people are very happy

and very satisfied with her painting.

349

00:20:27,815 --> 00:20:28,985

If it stops right there.

350

00:20:30,755 --> 00:20:33,455

And it's up to you, I'm going to

pull a little bit of that color up.

351

00:20:33,455 --> 00:20:36,575

So it looks like you're some on

these tree trunks sneaky, huh?

352

00:20:37,790 --> 00:20:39,140

So you can do that if you want to.

353

00:20:41,055 --> 00:20:46,005

But let's do, let's make this

brighter, like the sun, you know,

354

00:20:46,005 --> 00:20:48,345

when you walk through the woods, you

can see the sun in the background

355

00:20:48,345 --> 00:20:50,265

and it just burns through the trees.

356

00:20:50,265 --> 00:20:51,975

And it's so bright.

357

00:20:52,875 --> 00:20:55,875

Sometimes you can't hardly even

make out the, the tree trunks.

358

00:20:55,875 --> 00:20:58,215

It's so bright and I'm going

to take just the corner there.

359

00:20:58,215 --> 00:20:58,675

You can see it.

360

00:20:58,705 --> 00:21:01,935

See just the corner of the

brush and go right into a

361

00:21:01,935 --> 00:21:03,585

little bit of the white cakes.

362

00:21:03,585 --> 00:21:04,155

Go up in here.

363

00:21:04,845 --> 00:21:06,645

Figure out where the son lives up in here.

364

00:21:07,455 --> 00:21:08,325

In my world.

365

00:21:08,325 --> 00:21:12,675

I think it's right behind this Liam

here start right over the limb.

366

00:21:13,815 --> 00:21:19,605

Cause once again to me that when you look

at the sun, that bright it's like, it

367

00:21:19,605 --> 00:21:21,525

just burns right through that tree branch.

368

00:21:21,525 --> 00:21:24,705

And you can't see it as

probably something in your eyes.

369

00:21:25,950 --> 00:21:31,350

I'd have to get an optometrist to explain

all that to me, but this is the way I

370

00:21:31,350 --> 00:21:36,050

see it there, but just go right over.

371

00:21:37,200 --> 00:21:39,120

But look at that sun

coming through there now.

372

00:21:44,514 --> 00:21:47,935

For a long time, I wanted to make affects

like, yes, but I didn't really know

373

00:21:47,935 --> 00:21:49,705

how to do it and make it look right.

374

00:21:50,965 --> 00:21:53,245

And then when they came out

with all the, the Jessel's

375

00:21:53,245 --> 00:21:54,774

like, yes, it made it so easy.

376

00:21:56,564 --> 00:21:57,554

Anybody can do it.

377

00:21:59,655 --> 00:22:00,885

Anybody can do it.

378

00:22:03,075 --> 00:22:05,835

And in your world, you should be able

to do anything that you want to do.

379

00:22:07,739 --> 00:22:08,340

All right.

380

00:22:11,000 --> 00:22:13,909

You have to decide how bright the

sun is and how far it goes out.

381

00:22:16,340 --> 00:22:17,929

Totally and completely up to you.

382

00:22:19,699 --> 00:22:20,689

But look in here, it's so bright.

383

00:22:20,689 --> 00:22:21,800

It almost hurts the eyes.

384

00:22:21,800 --> 00:22:22,280

Sometimes.

385

00:22:22,489 --> 00:22:25,699

Sometimes it's fun to make like

light raising and through there.

386

00:22:25,790 --> 00:22:29,600

Now, you know, if the whole painting is

wet, that's hard to do because when you

387

00:22:29,600 --> 00:22:33,949

pull it across there, it's gonna take you

wet paint, but this is dry underneath.

388

00:22:34,100 --> 00:22:35,270

The gesture was dry.

389

00:22:35,720 --> 00:22:41,030

So we can see here to show you, I

can do is just decide where it lives.

390

00:22:41,030 --> 00:22:42,080

So you touch it.

391

00:22:42,170 --> 00:22:46,850

I then give it a little pull, cause

you're not going to destroy anything.

392

00:22:48,740 --> 00:22:51,500

And that easy thing, you see the light

coming right through those trees.

393

00:22:52,720 --> 00:22:54,910

See just wherever, look at it.

394

00:22:55,360 --> 00:22:55,990

That easy.

395

00:22:56,610 --> 00:23:00,840

Isn't that exciting and I've painted

thousands of paintings and I'm sorry, I

396

00:23:00,840 --> 00:23:08,730

get so excited about this, but it amazes

me how beautifully this works there.

397

00:23:09,210 --> 00:23:13,710

And maybe even, I don't know,

wherever you make the decision.

398

00:23:15,075 --> 00:23:16,875

But that easy, you can have a painting.

399

00:23:16,875 --> 00:23:20,205

That's just, that's

just absolutely unreal.

400

00:23:20,595 --> 00:23:23,625

And then it's just a matter of going

back and you can add in all kinds

401

00:23:23,625 --> 00:23:25,035

of little details that you want.

402

00:23:25,035 --> 00:23:27,765

You can put little sticks and

twigs, or it's a good time.

403

00:23:27,765 --> 00:23:29,895

You know, the little squirrel

we've shown in some other shows.

404

00:23:29,955 --> 00:23:31,695

Good time to paint you a

little squirrel in here.

405

00:23:32,295 --> 00:23:36,195

Anything else that you want once

again, I'm just, I want to make

406

00:23:36,195 --> 00:23:38,505

this a little greener and I've

got a few minutes left here.

407

00:23:39,255 --> 00:23:40,215

Let me find my brush.

408

00:23:40,215 --> 00:23:41,085

It had the blue on it.

409

00:23:41,115 --> 00:23:41,535

There we are.

410

00:23:44,325 --> 00:23:48,495

What had a little more, that

blue right here, show you how

411

00:23:48,495 --> 00:23:50,024

you can change this so easy.

412

00:23:52,625 --> 00:23:58,805

Maybe now that we can take our little

Indian, yellow color and this'll

413

00:23:58,815 --> 00:24:00,754

become brighter green, it's up to you.

414

00:24:00,935 --> 00:24:03,365

Do you have to make that

decision however you want it,

415

00:24:05,105 --> 00:24:06,514

but that's, that's pretty good.

416

00:24:07,235 --> 00:24:08,075

That's pretty good.

417

00:24:09,635 --> 00:24:11,585

It's green as you want there.

418

00:24:14,639 --> 00:24:15,210

All right.

419

00:24:15,270 --> 00:24:19,260

We'll put our light raised back

in and that's basically all

420

00:24:19,260 --> 00:24:20,550

there is to this little painting.

421

00:24:20,850 --> 00:24:23,580

When you do it to experiment a

little, you'll find all kinds of

422

00:24:23,580 --> 00:24:26,730

wonderful things that you can do

that I hadn't even thought about yet.

423

00:24:27,449 --> 00:24:31,050

Let's take a little bit of red and

I'm going to sign this little rascal.

424

00:24:31,050 --> 00:24:33,149

We'll sign it up here, seeing see it too.

425

00:24:35,570 --> 00:24:37,820

And with that, I think we've

got to have a finished painting.

426

00:24:38,865 --> 00:24:40,875

I really hope you try

this one and I'd love it.

427

00:24:40,995 --> 00:24:44,655

If you'd send me a photograph of what

you do, because it's unbelievable.

428

00:24:44,655 --> 00:24:47,745

Some of the pictures we're getting

and people are doing fantastic

429

00:24:47,745 --> 00:24:49,455

things until I hear from you.

430

00:24:49,755 --> 00:24:51,195

I'd like to wish you a happy painting.

431

00:24:51,945 --> 00:24:53,115

God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S28E04 - Golden Rays Of Sunlight

Bob Ross's

The Joy of Painting

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