Bob Ross's

The Joy of Painting

S29E02 - Autumn Oval

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I welcome back.

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Certainly glad you could join us today.

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Thought today we'd just

do a little painting.

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There's a lot of fun.

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I think you'll enjoy it.

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So let's start out and have him

run all the colors across the

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screen that you need to paint along

with us while they're doing that.

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Let me show you what I got up here today.

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Today I have my standard old, I'm using

an 18 by 24 inch double prime pre-stretch

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canvas, but you use whatever size

you'd like, and I've taken some contact

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paper and just cut a little oval out.

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And then we've covered the whole

inside with a little liquid white

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and that's all there is to it.

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So without further ado,

let's just have some fun.

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I'm going to start with

the little two inch brush.

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We're going to small amount,

just a very small amount of the

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Indian, yellow don't need much.

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Just a little, let's go right up in here.

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They will come right up in here.

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Let's do a scene today that

has a lot of earth tones in it.

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Something it's very earthy.

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There.

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We are start with a little Indian, yellow.

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I just throw a little in my

cat without cleaning the brush.

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I'll just add a little touch of yellow

ochre, just a little bit of yellow ochre,

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and we'll let those blend together.

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Okay.

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Just sort of a, sort of a nice gold color.

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It's beautiful.

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I like it.

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Now, then we're going to

use nice earth tones today.

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Tell you what tell you what

grabbed my little knife here.

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Let's mix today.

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Some.

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Alizarin Crimson in SAP

green in about equal parts.

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These two colors mixed together.

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Make a beautiful, beautiful

Brown, very warm chocolate Brown.

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I like it.

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And you could use your dark Sienna

and Vandyke Brown, but I thought

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today we'd use this warm Brown.

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Very nice.

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Okay.

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Let me, let me wipe

off the old knife here.

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And we mix these colors pretty good.

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Sometimes.

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Sometimes we leave colors, marbled,

but these are mixed and pretty good.

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And we'll load up some color

with the old two inch brush.

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Write it in, clean.

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It just.

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Just right on top and

let's go back up in here.

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We'll start right at the tippy

top and using little, little

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exits little crisscross strokes.

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We're going to begin blending downward.

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The color is continually mixing

with the liquid white that's on

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the canvas and it'll get lighter

and lighter as you work down there.

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So don't worry about like, it

will come back and blend all

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that out in just a second.

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Right now we're just applying some color.

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All right now, hold I have it

color going maybe in our world.

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Shoot Jeff.

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Why not?

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We'll just do something like it.

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We can do anything we want in our world.

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I think maybe we'll just put

a little color down here.

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We'll see what happens there.

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Something about my cat.

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All right.

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The most fun part of this whole procedure.

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If you've painted with me before,

you know, that's washing the brush.

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We wash our brush with

odorless paint thinner.

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There's a screen in the

bottom of the bucket that I'm

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scrubbing the brush against.

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There we go.

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Now they would just shake off the

excess and, and beat the devil out

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of that really is the fun part.

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Yeah, then I'm going to start

in the light area with a clean

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brush and just blend upward.

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Not like it.

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You want to blend this until

you can't tell where one color

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stops and the next color starts.

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And then it's just right.

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Just right there.

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That's about all I'm going to do

for a little sky in this painting.

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Okay.

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Let's use that same Brown color we've

made out of the Crimson and SAP green.

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Once again in about equal parts.

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Let me make a light Brown here.

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So I put some white and

some of that Brown together.

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Now, then.

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Cut across and get a little roll of paint

that lives right on the end of the knife.

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Let's go up in here and maybe

we'll put the indication.

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I don't want a lot of detail.

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Just the indication of a

little mountain that lives.

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He back in the distance here,

far away, little quiet guy.

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There he comes.

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And all we're looking for.

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Is the top shape appear.

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We could care less what's happening below.

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We just ask them what the top, the

rest of it will just happen there.

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Okay.

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Now take the old two inch brush.

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Go right up in there and bend it.

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Firmly, pull it.

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You can move this paint.

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The canvas has liquid wide on it.

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It's wet, slick, and you can

literally move the color.

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It allow the base of it to just

blend right out to nothing.

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See already it looks like

a little man it's living.

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Gosh, we don't even know

how far away it's living.

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We vacuum the distance somewhere.

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Quiet little guy.

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All right.

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Now as you know, in a landscape,

as things get closer to you,

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they should get darker in value.

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So we use that same color and I've just

added a little more of the Brown into it.

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Maybe we'll have another range here

of little, little distant mountains,

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not like, so once again, cut off.

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Get our little roll of paint.

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That little roll of

pain is very important.

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It makes applying, it

appear much, much easier.

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Another big decision where's

our little mountain lift, or

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this is quite a big mountain.

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Maybe he lives right there.

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Something like these are decisions

that you have to make in your world.

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You have unlimited power,

absolutely unlimited power.

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You can change the

course of mighty rivers.

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You can build mountains, anything

that you want to do in this world,

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you can absolutely do there.

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Now then wipe the knife off.

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And I just, I wiped the knife

on just the paper towel there.

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Now, once again, I'm going to grab this

and pull, think about angles here because

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of today, I'm only going to use brush

strokes to create all the highlights

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and shadows and these little mountains.

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There we are for the series is over.

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We'll do some mountains where we go in and

paint make a lot of detail, but these, I

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want to be far away and things that are

far away, you don't see a lot of detail.

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Fact, if you put too much detail,

you lose that illusion distance, but

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just the brush strokes will create.

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Enough illusion that it's

sufficient for what we're doing.

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See there, it looks like mountains

back here and that's all we need.

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Easy.

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Can I do easy?

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All right.

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I'm to, I kept Brown.

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I'm going to keep using it here.

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We'll take and make it

darker a little bit darker.

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There something about like that

each layer, once again, as it gets

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closer to, you should get darker

in value, darker and darker.

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We described I'm using a number six fan

brush, but you could use number three.

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It doesn't matter.

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Doesn't matter.

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Do you make the decision load?

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Both sides of the bristles with a lot

of paint, a lot of paintings go up here.

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Now let's have some little,

some little distant trees.

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Show me how easy they are to make you've

painted with me before you've probably

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done this, you know, it works wonderfully.

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Wonderfully.

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We get letters every day from fantastic

people all over the country who never

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believed that they could create such

beautiful masterpieces, get hundreds

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and hundreds of photographs from people.

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I can't even believe what they're doing.

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It's wonderful.

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And my young friends all over

the country are doing this and

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they're painting paintings.

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I have, I have young friends that

are 12, 13, 14 years old that

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are actually selling paintings.

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And making a happy book.

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Isn't that?

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Fantastic.

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What, what better thing to

give young people confidence

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and do something like this.

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And, and people come along and are

willing to pay them for their efforts.

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It's not the money.

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The money means nothing, but what it does

to a young person, or even an old person

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like me, it's ego is unreal that somebody

would spend their hard-earned cash on

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something that you saw in your mind.

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And you.

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You put it on a piece of

canvas with your hand.

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I want to create some myths down

here to bottom to inspiration.

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I'm using only the top corner.

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When I tap it strongly severely,

just really get in there and take

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out all your frustrations and

hostilities now gently, gently.

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Now hostility now gently lift upward.

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See.

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It takes out the tap marks and

creates the illusion of mist

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floating right down at the base.

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I'm going to wash my little fan brush off.

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I just want to, I want to play a

little more, a little more, and

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I'm going to go into straight Brown

that Brown we've made with a Crimson

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in the SAP green, just straight.

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What is to be the darkest

layer of background trees.

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There we go now right into here.

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Let's have another layer and in your

world, do you make as many layers

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as you want, but each one of these

little layers will help increase the

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illusion of distance in your painting.

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And to me, that's very desirable.

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I like paintings that

have great depth in them.

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That's what some of the old

masters were so good at.

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You could look into their paintings

and absolutely see into infinity.

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There we go.

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Now I want to create the illusion of a

reflection when I was traditional painter.

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This was hard to do, but watch here.

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All you do is grab it.

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Look there, grab it, pull

down straight down though.

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And then gently go across just enough to

sort of give it a little watery feel and

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I'll lift up just a wee bit, a little

bit, a little bit there like that.

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Now I'm going to go into Vandyke Brown.

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I'll even put a little dark scene.

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I want a very dark Brown.

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Now, once again, cut off at

little roller paint and let's

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just put the indication back here.

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Maybe there's a little landmass.

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It lives under there.

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Holds the trees up.

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So they don't fall in the water.

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Something about like

cat lift up right here.

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And they're on a chest there

to break up at top page.

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Now let's take a little

touch of the liquid white.

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Don't put a little Brown in it too.

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Just a little bit.

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Pull it up very flat and cut across.

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Just let me do it again so

you can see it for sure.

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Cut across and they would

go up here, take that.

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And we can literally, we'll just cut

us in happy little waterline lives

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right in here, right in here like that.

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All right.

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And you could put a little ripple

or two in the water if you want.

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It's up to you.

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Up to you there, but all these lines

need to go basically straight across.

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If they don't, it looked like, looked

like the water's gonna run right out of

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your painting and you don't want that.

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All right.

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Ready to get brave with me.

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You know, me, if you've paid

me me before, you know, I have,

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I have a love of big tree.

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Someone takes some vendor Brown, dark

Sienna, and I'm just pushing the brush.

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Like, so let's go up in here.

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Big tree time.

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All right.

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Why not?

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Right over in here, just use the corner

of the two inch brush, just the corner.

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And let's begin putting in some basic

shape and form of a whole giant tree

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that lives right here and overlooks

this beautiful little, same about

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like, I don't want to, I don't want

to lose the top of my little mountain.

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I want to be able to see it.

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So I started through the branches.

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So we'll sort of work to

hang on to that everywhere.

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All right.

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But now when you're doing your tree,

you sorta, you decide, you decide

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what shape you wanting to be big tree,

maybe smaller than this one, or he

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could be bigger and your world, maybe

the tree is stronger than this one.

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There that's up to you.

253

00:13:20,925 --> 00:13:21,795

Absolutely.

254

00:13:21,795 --> 00:13:22,965

And completely up to you.

255

00:13:24,345 --> 00:13:24,885

Painting.

256

00:13:25,215 --> 00:13:26,565

Painting offers you freedom.

257

00:13:28,035 --> 00:13:28,485

Okay.

258

00:13:28,485 --> 00:13:31,095

Now I'm going to reload the

brush, but this time I'm going

259

00:13:31,095 --> 00:13:31,965

to load it a little different.

260

00:13:31,965 --> 00:13:35,775

I'm going to pull it, just go straight

down and pull it in one direction.

261

00:13:35,805 --> 00:13:37,005

Right through the same colors.

262

00:13:38,040 --> 00:13:38,790

Man bag.

263

00:13:39,420 --> 00:13:41,700

I'm going to reach over here and

get little black to darken it.

264

00:13:41,760 --> 00:13:46,680

I want this to be dark, dark black,

dark Sienna, van Vandyke Brown.

265

00:13:46,680 --> 00:13:50,280

I'm just mixing them on the brush,

but notice the brush is straight down

266

00:13:50,280 --> 00:13:51,750

and I'm pulling it into one direction.

267

00:13:52,830 --> 00:13:55,200

That'll create a curve and I'm

going to turn the brush over.

268

00:13:55,530 --> 00:13:57,000

See that curve right at the top.

269

00:13:57,645 --> 00:13:58,574

You want it up?

270

00:13:58,785 --> 00:13:58,965

Okay.

271

00:13:58,965 --> 00:14:02,835

Let's go up in here with that

rounded part of the brush to the top.

272

00:14:03,285 --> 00:14:03,675

Watch here.

273

00:14:03,675 --> 00:14:09,194

You can touch and push and we'll start

making all kinds of little bushes

274

00:14:09,194 --> 00:14:10,665

that live back here in our world.

275

00:14:12,375 --> 00:14:13,814

Just push it.

276

00:14:14,055 --> 00:14:15,555

Try not to let the brush slide.

277

00:14:15,795 --> 00:14:17,655

It's a suggestive push and abandoned.

278

00:14:17,970 --> 00:14:19,410

And then you come straight out, maybe.

279

00:14:19,680 --> 00:14:19,860

Yep.

280

00:14:21,810 --> 00:14:22,770

Right along in here.

281

00:14:22,800 --> 00:14:23,370

I don't know.

282

00:14:24,840 --> 00:14:29,850

You decided in your work where you

want all these things to be where

283

00:14:29,939 --> 00:14:34,980

ever once again, on this piece of

canvas, you have unlimited power.

284

00:14:35,760 --> 00:14:37,350

So you make these big decisions.

285

00:14:37,380 --> 00:14:44,730

You decide to me, that's probably one

of the most fun parts of painting there.

286

00:14:45,750 --> 00:14:46,350

All right.

287

00:14:49,975 --> 00:14:50,755

Let's take.

288

00:14:52,275 --> 00:14:53,204

Yeah, there's a fan brush.

289

00:14:53,235 --> 00:14:53,834

Sorry, dirty.

290

00:14:54,255 --> 00:14:56,505

I can put some Brown on it.

291

00:14:56,895 --> 00:14:57,645

Grab my knife.

292

00:14:59,985 --> 00:15:01,485

We'll have a little bit of fun here.

293

00:15:03,405 --> 00:15:05,865

Mixed a little bit of the liquid

white with some titanium white.

294

00:15:05,865 --> 00:15:07,305

I want to thin it down a little bit.

295

00:15:07,485 --> 00:15:09,015

Grab a little touch of dark Sienna.

296

00:15:09,525 --> 00:15:10,574

I'll make a light Brown.

297

00:15:11,550 --> 00:15:15,329

But this color is a little bit thinner

than what it was originally because

298

00:15:15,329 --> 00:15:19,469

I put a little liquid white with

it intentionally to thin it down.

299

00:15:20,520 --> 00:15:20,849

Okay.

300

00:15:20,939 --> 00:15:21,839

Wipe off the knife.

301

00:15:23,579 --> 00:15:26,339

Now I'm going to dip the brush

into a small amount, small

302

00:15:26,339 --> 00:15:29,609

amount of paint, thinner and

go right through Vandyke Brown.

303

00:15:30,689 --> 00:15:32,369

Once again, we found the color little.

304

00:15:32,400 --> 00:15:37,530

Now take this, see the light color

that we made pull one side through.

305

00:15:37,979 --> 00:15:40,319

So now I have light on

this side, darker, matte.

306

00:15:41,055 --> 00:15:41,805

Light dark.

307

00:15:41,984 --> 00:15:42,285

Okay.

308

00:15:43,185 --> 00:15:44,535

Now you have to make a decision.

309

00:15:44,714 --> 00:15:46,515

Which side is the light coming from?

310

00:15:47,145 --> 00:15:51,074

I think we'll have it come from

the left touch and pull down.

311

00:15:51,135 --> 00:15:54,734

And in one stroke you can make the

highlight and the shadow of a nice

312

00:15:54,734 --> 00:15:58,185

tree trunk that easy in that sneaky.

313

00:15:58,275 --> 00:16:00,645

Maybe we'll have another one to

show you how to do it straight down.

314

00:16:02,190 --> 00:16:07,860

There in that easy, we have

just a little tree trunk.

315

00:16:08,670 --> 00:16:08,970

Okay.

316

00:16:09,630 --> 00:16:12,390

I'm going to use the old, dirty

brush here has the Brown on it.

317

00:16:13,830 --> 00:16:16,770

I'm going to go into some of my

yellows, yellow ochre predominantly.

318

00:16:16,980 --> 00:16:18,270

Maybe let's get crazy.

319

00:16:18,330 --> 00:16:20,970

Take a little bright red

and put it near nice color.

320

00:16:21,600 --> 00:16:24,720

But notice how we're loading this,

put it on both sides and then give

321

00:16:24,720 --> 00:16:27,600

it a little push that little push.

322

00:16:27,690 --> 00:16:29,130

I see that little Ridge right there.

323

00:16:29,610 --> 00:16:32,400

There's one just like it on the brush and

that's what we're going to paint with.

324

00:16:33,510 --> 00:16:33,810

Okay.

325

00:16:34,350 --> 00:16:35,010

Let's go up in here.

326

00:16:36,200 --> 00:16:36,440

Now.

327

00:16:36,440 --> 00:16:37,760

We go slightly above the dark.

328

00:16:37,760 --> 00:16:41,740

Cause we want the shadows underneath

and using just the corner of the brush.

329

00:16:41,780 --> 00:16:42,680

It didn't show well enough.

330

00:16:42,680 --> 00:16:44,300

I'm going to add a little

touch of liquid white.

331

00:16:45,410 --> 00:16:46,160

I want that brighter.

332

00:16:46,160 --> 00:16:48,290

So you can see it reload the breast.

333

00:16:48,300 --> 00:16:48,740

Same way.

334

00:16:51,320 --> 00:16:53,390

That's a little better, a little better.

335

00:16:54,740 --> 00:16:56,270

Just want you to be able to see it.

336

00:16:57,390 --> 00:16:59,520

Normally when we're painting for

television, we paint a little

337

00:16:59,520 --> 00:17:01,620

brighter than we would at home.

338

00:17:02,460 --> 00:17:07,819

So it shows up better there, but now

begin thinking about shape and form

339

00:17:09,200 --> 00:17:12,980

and put in all kinds of little leaves

and stuff that live here on your tree.

340

00:17:15,020 --> 00:17:16,100

These are the highlights.

341

00:17:16,190 --> 00:17:17,210

This is the fun part.

342

00:17:17,900 --> 00:17:19,819

I sit on the cake, whatever

you want to call it.

343

00:17:21,050 --> 00:17:21,710

There we go.

344

00:17:23,490 --> 00:17:27,060

There, but you need a dark

background to make these show up.

345

00:17:27,089 --> 00:17:31,500

Light against light creates nothing

dark against dark creates nothing.

346

00:17:32,639 --> 00:17:33,750

They just blend together.

347

00:17:34,050 --> 00:17:38,550

So you need contrast light against dark,

dark against the light play with it.

348

00:17:38,760 --> 00:17:39,600

You'll enjoy it.

349

00:17:40,110 --> 00:17:41,100

It's what makes a painting.

350

00:17:41,100 --> 00:17:41,850

Interesting.

351

00:17:43,110 --> 00:17:43,740

There we are.

352

00:17:44,010 --> 00:17:46,770

Ooh, little red there looks like

Jack froze hit here a little.

353

00:17:47,625 --> 00:17:52,175

Bye Kevin, our crew darker,

darker down here toward the base,

354

00:17:52,175 --> 00:17:55,055

because at the base of the tree,

there will be a nice shadow area.

355

00:17:55,805 --> 00:17:59,015

That's where all my little friends, little

pea pod to pocket squirrel in my little

356

00:17:59,015 --> 00:18:00,635

bunny, rabbits and all those living there.

357

00:18:03,785 --> 00:18:04,295

Okay.

358

00:18:06,150 --> 00:18:11,640

I find a little one inch brush

there and let's take, we'll

359

00:18:11,640 --> 00:18:14,520

go through little kid yellow.

360

00:18:15,390 --> 00:18:16,500

We just use all the yellows.

361

00:18:16,560 --> 00:18:19,770

We'll be right back and we'll get a

little, little lizard and Crimson.

362

00:18:19,770 --> 00:18:23,400

If we're going to have colors

that sort of remind us of fall.

363

00:18:24,480 --> 00:18:26,370

Once again, pulling that

brush in one direction.

364

00:18:26,370 --> 00:18:27,600

It's a beautiful closeup here.

365

00:18:27,600 --> 00:18:29,520

You can see it now.

366

00:18:29,580 --> 00:18:30,210

Turn it over.

367

00:18:30,960 --> 00:18:31,830

See that curve.

368

00:18:32,040 --> 00:18:33,240

That's what we want toward the top.

369

00:18:33,270 --> 00:18:33,840

Let's go up here.

370

00:18:34,980 --> 00:18:36,600

Yeah, right above.

371

00:18:36,750 --> 00:18:40,740

We can go right in here and we can

begin putting some gorgeous little

372

00:18:40,740 --> 00:18:43,260

highlights on these individual bushes.

373

00:18:43,440 --> 00:18:46,020

Work on one Bush at a

time, one push at a time.

374

00:18:46,260 --> 00:18:46,980

Don't get greedy.

375

00:18:47,970 --> 00:18:49,380

I know, I know it gets good.

376

00:18:50,670 --> 00:18:54,030

And you get greedy maybe, even

though we're talking about autumn,

377

00:18:54,030 --> 00:18:59,160

maybe a little SAP green, cause all

bushes don't turn at the same time.

378

00:18:59,400 --> 00:19:00,450

Maybe this one back here.

379

00:19:00,960 --> 00:19:02,250

Maybe there's a little

green left in there.

380

00:19:04,439 --> 00:19:06,600

Maybe when Jack Frost was

coloring all these here.

381

00:19:06,720 --> 00:19:09,810

Let me miss this one, something like that.

382

00:19:11,220 --> 00:19:13,129

They're there.

383

00:19:13,220 --> 00:19:18,679

Just let your imagination take you to any

world that you want to be anywhere else.

384

00:19:20,720 --> 00:19:23,570

What's so great about imagination to

me, it's the greatest thing that an

385

00:19:23,570 --> 00:19:29,810

artist owns is his imagination because

without imagination, it's hard to.

386

00:19:30,570 --> 00:19:34,410

To envision things and to paint them

at your imagination, go it's like any

387

00:19:34,410 --> 00:19:41,400

other part of your body, the more you

use it, the better it becomes just

388

00:19:41,400 --> 00:19:43,380

like exercising a muscle in your arm.

389

00:19:44,340 --> 00:19:47,970

Your imagination gets better too there.

390

00:19:48,360 --> 00:19:51,770

Now, if you have trouble making your

paint stick at the least little touch

391

00:19:51,830 --> 00:19:55,700

of paint, thinner or liquid white, not

liquid white will make your color a little

392

00:19:55,700 --> 00:19:57,350

brighter and it'll change it a little.

393

00:19:58,530 --> 00:20:01,470

Sometimes, sometimes

that's very desirable.

394

00:20:03,330 --> 00:20:07,530

Sometimes you want to keep the

color pretty close to being what

395

00:20:07,530 --> 00:20:09,360

you loaded on the brush pure.

396

00:20:10,680 --> 00:20:15,030

And in those cases you would

use a little paint thinner.

397

00:20:17,840 --> 00:20:21,260

Let me, re-emphasize the word

little, you don't need much.

398

00:20:22,520 --> 00:20:24,470

You need very, very little.

399

00:20:25,190 --> 00:20:25,940

Okay.

400

00:20:26,820 --> 00:20:27,179

Shoot.

401

00:20:27,570 --> 00:20:28,350

We come along here.

402

00:20:28,379 --> 00:20:28,889

Pretty good.

403

00:20:29,790 --> 00:20:30,810

We need a path in there.

404

00:20:31,360 --> 00:20:36,179

Just seems like a natural place to

take a little bit of Vandyke Brown.

405

00:20:36,179 --> 00:20:39,990

Once again, get our little roll of paint

for that little roll is very important.

406

00:20:39,990 --> 00:20:44,460

Let's go up in here now then

just sorta go back and forth.

407

00:20:44,490 --> 00:20:48,030

Gently, gently touching the canvas there.

408

00:20:49,185 --> 00:20:51,745

And if you mess up a little Bush,

like I did there, we just go back

409

00:20:52,274 --> 00:20:53,535

and we'll drop it right back.

410

00:20:53,535 --> 00:20:53,715

Yeah.

411

00:20:53,925 --> 00:21:00,195

In her world, we can change anything

whenever we want, when ever we want, then

412

00:21:00,195 --> 00:21:05,205

we'll take a little Brown, little white,

we cook together and we'll make just, just

413

00:21:05,205 --> 00:21:07,395

a little highlight color to put on there.

414

00:21:07,545 --> 00:21:09,915

Maybe I'll even put a little

touch of the Crimson in there.

415

00:21:10,575 --> 00:21:14,855

Just to warm it up there

once again, cut it off.

416

00:21:14,975 --> 00:21:16,205

And that little roll of paint.

417

00:21:16,295 --> 00:21:18,005

I'm who keeps saying that over and over.

418

00:21:18,515 --> 00:21:19,625

Cause it's so important.

419

00:21:20,705 --> 00:21:23,315

And I was talking about my little

squirrel pea pod that lives up here.

420

00:21:24,305 --> 00:21:26,465

Believe it or not, he still with me.

421

00:21:27,305 --> 00:21:32,195

I let him go little more than a year

ago and he still lives in my backyard

422

00:21:32,255 --> 00:21:34,025

and he comes every single day.

423

00:21:35,310 --> 00:21:39,659

And scratches on the back door,

just like a little puppy and

424

00:21:39,689 --> 00:21:40,740

he'll scratch on the door.

425

00:21:40,770 --> 00:21:47,100

If he sees me in the kitchen until

I pay attention to him and I opened

426

00:21:47,100 --> 00:21:48,330

the door, he'll come in the house.

427

00:21:49,110 --> 00:21:53,580

He knows where I store all the, all the

goodies and the nuts and everything.

428

00:21:54,300 --> 00:21:55,470

And he'll go pick him out of nut.

429

00:21:55,470 --> 00:22:00,360

And now he goes, but even after a

year he remembers and he comes back.

430

00:22:01,439 --> 00:22:03,360

And to me that's very special.

431

00:22:03,840 --> 00:22:05,310

I didn't want to God's little creatures.

432

00:22:06,810 --> 00:22:09,500

We take the time to share

their world with me.

433

00:22:10,550 --> 00:22:11,420

That's special to me.

434

00:22:11,480 --> 00:22:13,640

I don't know, but I'm about half crazy.

435

00:22:13,640 --> 00:22:16,100

So there we are.

436

00:22:17,720 --> 00:22:18,470

Okay.

437

00:22:19,220 --> 00:22:20,840

Let's take a clean knife.

438

00:22:21,440 --> 00:22:24,110

I just want to put the indication

here and there of some little

439

00:22:24,110 --> 00:22:26,510

sticks and bushes in the bushes.

440

00:22:27,260 --> 00:22:27,530

There.

441

00:22:29,445 --> 00:22:30,915

Just the little things

that live back here.

442

00:22:30,915 --> 00:22:31,875

Cause they're always here.

443

00:22:31,905 --> 00:22:33,375

You always see them in the woods.

444

00:22:35,205 --> 00:22:41,985

Yeah, there, maybe over in this side, the

other little squirrel that I still keep,

445

00:22:41,985 --> 00:22:48,345

she has epilepsy and have maintained her

now for four or five years because of, you

446

00:22:48,345 --> 00:22:52,875

know, the veterinarian told me she would

die in six months, but I didn't tell her.

447

00:22:54,040 --> 00:22:57,550

And she's been with me all these

years and that's girly, girly Brown.

448

00:22:58,300 --> 00:23:00,129

You've seen her, I think if

you've watched the show, I've

449

00:23:00,129 --> 00:23:01,750

shown her many times in the past.

450

00:23:02,800 --> 00:23:03,940

She's a neat little squirrel.

451

00:23:04,240 --> 00:23:05,290

She still lives with me.

452

00:23:06,340 --> 00:23:10,540

And I keep her in my basement in a

great big cage basements where I paint.

453

00:23:10,540 --> 00:23:11,750

So she's right next to where.

454

00:23:12,105 --> 00:23:13,065

I practice painting.

455

00:23:13,605 --> 00:23:15,465

I tell you what, let's

bring the camera up here.

456

00:23:15,675 --> 00:23:19,635

I'm going to take the contact paper off

it's time for the moment of truth here.

457

00:23:21,225 --> 00:23:22,785

Let's take a look, see what we have.

458

00:23:24,585 --> 00:23:26,685

Pull that paper off there.

459

00:23:27,765 --> 00:23:29,625

There's your painting that easy.

460

00:23:30,825 --> 00:23:31,995

And this is your last chance.

461

00:23:31,995 --> 00:23:34,995

Now you have to come back and do any kind

of little things that you want to do.

462

00:23:36,525 --> 00:23:37,935

And your painting is just about face.

463

00:23:37,965 --> 00:23:40,125

I won't take a little paint,

thinner, a little bit of Brown.

464

00:23:41,220 --> 00:23:45,420

Maybe we'll put a little stick out

here, got a little tablet left.

465

00:23:46,110 --> 00:23:50,520

So maybe in our world, our lives,

maybe there's a little tree

466

00:23:50,520 --> 00:23:52,470

that pooped out right there.

467

00:23:52,740 --> 00:23:56,400

Maybe he died, but he's his

little skeletons still here.

468

00:23:56,640 --> 00:24:03,720

And in nature, you see little

trees, like is all over there.

469

00:24:05,700 --> 00:24:09,660

See, but mix paint thinner

with your paint to make it thin

470

00:24:09,899 --> 00:24:11,970

almost to the consistency of ink.

471

00:24:12,060 --> 00:24:15,450

And then it'll flow

right over the top of it.

472

00:24:15,810 --> 00:24:18,510

That's all there is to it and

you decide where they live.

473

00:24:19,260 --> 00:24:19,530

Okay.

474

00:24:20,879 --> 00:24:21,450

Thanks for that.

475

00:24:21,540 --> 00:24:22,580

We're going to call this done.

476

00:24:22,580 --> 00:24:25,110

I'm gonna take a little bit of the

bright, red little paint thinner.

477

00:24:25,830 --> 00:24:27,330

I will siren this little rascal.

478

00:24:28,710 --> 00:24:29,580

Hope you've enjoyed it.

479

00:24:29,639 --> 00:24:30,540

We'll sign it right here.

480

00:24:32,235 --> 00:24:33,945

This is a very simple little painting.

481

00:24:34,425 --> 00:24:38,585

I don't think you'll have any trouble

with it, but if you paint it, if you have

482

00:24:38,585 --> 00:24:40,865

time, take a photograph of it, send to us.

483

00:24:41,225 --> 00:24:43,745

We would love to see it in every,

in West while we put them together.

484

00:24:43,745 --> 00:24:48,485

And we'd like to show them on TV until

then I'd like to wish you happy painting.

485

00:24:48,845 --> 00:24:49,985

And God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S29E02 - Autumn Oval

Bob Ross's

The Joy of Painting

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