Bob Ross's

The Joy of Painting

S29E04 - Light at the Summit

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Hey, welcome back.

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Certainly glad you could join us today.

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I thought today we'd just

do a little painting.

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That's very easy.

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I had 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 done today.

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I have a little preparatory work

already done, but this is very simple.

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You'll have no problem doing it.

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I've taken it's plain old canvas

and a little bit of black and

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gray Jesso, and I've just using

a foam brush, a disposable.

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Foam brush.

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I've just painted in a basic little

shape of some mountains and this one

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has more gray in it than this one does.

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So it looks a little farther away.

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Then we've allowed the Jesso

here to dry completely.

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After it was completely dry, then

I've covered the entire canvas with a

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very, very thin coat of liquid clear.

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And once again, it's a thin coat,

probably because it's transparent.

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The biggest mistake made

is putting too much on.

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I recommend you put on a tennis coach.

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You can take a paper

towel maybe, and wipe it.

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What's left will be just right.

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It's liquid clear is fantastic.

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It does wonderful things.

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So I show you, you take the

Jesso and clear and combine them.

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Oh, it makes you painting

worlds so much easier.

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Let's take a little bit

of the fail-over blue.

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I love the low blue.

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It's a beautiful color.

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Let's go right up here

at the very tip top.

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And we're just going to start out the day

and make little crisscross strokes, little

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exes, just little exes, like, so the clear

it's only canvas makes it very slick.

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It allows the paint to actually

blend right upon the canvas.

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There and the black and the gray, just

so we'll put our background in with

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very little work and it'll be gorgeous.

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is one of the neatest things

we've ever come up with.

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It's almost become a standard

Nanda in the painting industry.

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There we are just like, so I

want this guy to be a little

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darker on the top than it is.

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Right here when it reaches the mountain,

just a little darker and by starting

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at the top, making little crisscross

strokes and working downward in layers,

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each time going across and coming

down a little lower, it'll get lighter

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automatically because you just use up

the paint on the brush right now to

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make it even darker in the corners.

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Cause I want to, I want to

make it dark on the corner.

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So it makes you, I go toward the center

of the canvas and won't take pressure and

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blue, just a little on the two inch brush.

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And brew is much stronger.

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Ooh, really strong.

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Let's go back up here and I'm going

to add a little bit right into

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the corners just to make it dark.

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It's a beautiful, beautiful blue there.

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Can you add a little more?

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We'll do the other corner.

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Okay.

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And we'll just let that

blend right on down to you.

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Can't tell her one color stops.

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Next color starts.

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There we are.

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Oh, we have that all blue going.

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I'm just going to take

a little more of that.

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The little blue little pressure.

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It doesn't matter.

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And I'm just going to cover this

part where it has just so on it with

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a very thin coat, very thin coat,

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something about like cat and we really

don't have to even worry about it.

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Just paint right over there.

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So there's a very, very thin

coat of blue over the entire.

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Area here that we have

the jest, so well, okay.

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Now the fun part of this whole paint

procedure, let's wash the brush.

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Heck that's the only reason I

do this so I can wash the brush.

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It's where you take out all your

frustrations and hostilities.

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Shake off the excess

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and just really beat the devil out of it.

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One thing when you're working with

clear, be sure your brush is as

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dry as you can possibly get it.

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I recommend you wipe it on a paper towel.

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Like I just did after you really

beat it severely, I won't take a

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little bit of titanium white and

I'm just adding some to one corner.

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See, it's mainly on one corner.

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Kane, let's go up in here and my world,

I think today we'll have maybe the

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sun's right here and it's very bright.

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Right.

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And it's just burning right through there.

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Didn't make those noises.

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So.

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There, but I want this to be very bright.

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Sometimes when I look at, when I

look at the sun coming through, it

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is so bright, you can almost, it

almost washes out all the detail and

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that's exactly what I wanted to do.

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Titanium white is very opaque, but if

you thin it, if you get it thin enough

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on the canvas, it's still transparent

enough that you can make out basic shape.

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And that's really all I'm looking for.

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So I want to look like that sun

is just burning through that

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Valley coming right through here.

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Like, so.

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There are, you can do this several times.

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If you want to, to, to achieve a

desired lightness or brightness in

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your painting, strictly and completely

up to you, you make the decision, you

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make the decision totally up to you.

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Maybe just a little touch,

more white right there.

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I want a nice, I have burner right there.

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Something that'll just sparkle.

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All right.

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So you can still make out that

there's mountains back there.

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That's why we did them with a jest.

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So we really don't care.

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We're just looking for a little

shape that just zings through there.

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Okay.

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That's about all I'm going to do

for little mountains that easy.

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The Jesso has opened a lot

of doors, the color jesses.

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Once again, it makes

painting so much easier.

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You can create a Lucian's that

before were very difficult.

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Little SAP green, a little yellow

using CAD yellow, yellow ochre.

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Okay.

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Yeah, literally Indian,

yellow here and there.

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And I mixed these on the brush

because that way you have a variety

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of things happening on the brush

can get a little more green on it.

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A little darker.

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Ooh, I like it.

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Seven greens.

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Gorgeous.

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Okay.

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Yeah, push cadence group in here.

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They got to make some big

decisions in our world maybe.

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And all we're going to do is just

touch the canvas and begin thinking

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about maybe there's a little, maybe

there's a little grassy metal that

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lives we back in here somewhere.

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And it just, some of that

grass just gently, gently goes

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up the side of the mountain.

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Very lightly.

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I just wanted to disappear back here

in that strong light disappear, quiet,

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gentle, peaceful little place in

the more you tap this, the more it's

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going to pick up the color that's

underneath the blue that we put on

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and it'll just, it'll get there.

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Darker and darker automatically,

automatically let the canvas work shoot is

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the lazy man's way painting, but it works.

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Anybody can do this.

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Okay.

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Anybody, I get letters every day from

youngsters in their nineties, they

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tell me that they're doing painting.

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Is it friends and neighbors, relatives.

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They don't even believe.

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And you can do it too.

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You really can really can.

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All you need to do.

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It's believed that you can practice a

little bit and let your imagination take

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you to any world that you want to go to.

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They're very, very soft, very gentle.

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Okay.

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Maybe over in here, add a little

more SAP green, just like that.

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Green color, that paint a

little brighter for television

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than I normally would at home.

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When you're painting, you decide

if you want it to be more subdued

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or brighter, it's up to you.

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Painting is an individual thing.

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Each of us see nature through different

eyes and your perception of nature

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is exactly what you should paint.

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They're in a wonderful that we do with it.

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It'd be terrible if we also

exactly the same thing.

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God was very smart when he gave

us individual personalities

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there, or at least I think so.

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Cause I like, I liked being different.

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All right.

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Now then, as I say, the more you

tap this, the more subdued it

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will become totally up to you.

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And you create the lay of the land.

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You have to sort of make decisions

here, how you want the land to flow.

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Take a clean dry brush, and I'm

just going to tap this little bit.

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I want it to pick up some of that

color this underneath and soften it

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even more, even more till it just

basically just blames out on the edges.

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Alright, and then fantastic.

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And you can do it.

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You can do it.

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I know you can.

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I know you can't and I know you

can't, you certainly know there.

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Okay.

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Maybe I know let's take a

little Bandag and Brown, little

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dark sand, it mixed with it.

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Home.

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A little fan brush.

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I'm using number six, fan brush day.

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Number three, we work just as well.

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Whichever one you have.

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It's okay.

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And maybe in our world, only back

in here, we can see the indication.

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Maybe there's a, a little, little path, a

little road, whatever you wanna call it.

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That just goes way back in there.

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Somewhere works forward

and forward forward.

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That it gets larger, wider

as it comes forward there.

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Now, without him clean that brush

and pick up a little bit of the

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titanium, white, just a small amount

and just mix it right on there.

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So I have a little bit lighter color.

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And would that would just graze it,

just graze it just graze it, not don't

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cover up everything just here and there.

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Just craze it.

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That's about all we want just to

give the indication of a few little

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highlights here and there, and we can

take our brush that has a little grass

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color in here and there put in Switzer.

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He had pushed that

little thing back sneaky.

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Huh?

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In here.

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It's all there is to it.

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There, it creates depth in

your painting and testing.

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Let's find a knife.

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I'm going to mix up a very dark color,

black Prussian blue, some Crimson in it.

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And maybe even a little bit of our

SAP, green, black depression, blue

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Crimson, and SAP green, very dark in

your palette and the white, the knife.

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When you're palette, it should look

absolutely black, very dark, very dark

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load, a little bit into a two inch brush

and maybe let's work on the foreground.

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Maybe there's a little,

little place right there.

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You decide.

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There it is.

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We'll let that, yeah.

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Okay.

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Sort of look at your, your path here.

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That's what I'm going to do.

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A little path comes around.

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I'm just putting some dark

in for the edges in here.

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They don't much matter because

you have the dark underneath.

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Doesn't much matter.

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I just want to create nice firm itches.

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Say already, it looks like you can

see back in there thousand miles and

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that's Niki dark and that a little bit.

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So it fades right in while

I have a dark on the brush.

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Cause we don't want to

see where this ends.

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We just want it to blend

right out into nothing there.

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Okay.

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Now, Back to the little brush I

was using to put the, highlight

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the grassy colors on the loaded up.

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I want this to be darker

or reach up in here.

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Be right back, get a little black, black,

and yellow, make a beautiful green color.

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Push that brush.

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Get a little, little rigid paint.

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See it right there.

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So that's what you, after now with that.

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Let's go up in here and I

don't want this to be as bright

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as what's in the background.

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I think I'll put some big trees in here.

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So maybe this is in shadow would begin

picking out little individual things.

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If you have any trouble at all,

making the paint stick at the least,

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least little touch of paint, thinner.

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Just dip the tips of your bristles

into a little paint thinner, and

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then go back through your color now.

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And little yellow ochre

just to change the flavor.

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Just maybe that comes on out there.

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00:13:39,645 --> 00:13:40,125

I don't know.

251

00:13:40,335 --> 00:13:44,235

It doesn't matter just to

change the flavor a little bit.

252

00:13:45,975 --> 00:13:46,605

All right.

253

00:13:48,825 --> 00:13:52,005

And when you're at home and having a

time, you can tap, tap, tap on this

254

00:13:52,005 --> 00:13:53,985

until it, it just blends together.

255

00:13:53,985 --> 00:13:54,795

And it's gorgeous.

256

00:13:56,475 --> 00:13:58,995

You can make beautiful grassy

areas that are, I guess,

257

00:13:58,995 --> 00:14:02,385

soft looking as velvet there.

258

00:14:05,055 --> 00:14:05,985

Okay.

259

00:14:06,305 --> 00:14:08,765

Think about, think about the

lay of the land, the way the

260

00:14:08,765 --> 00:14:11,735

land flows it's most important.

261

00:14:12,275 --> 00:14:14,495

Give direction, give

direction to your land.

262

00:14:16,385 --> 00:14:16,954

There we are.

263

00:14:18,845 --> 00:14:19,505

All right.

264

00:14:21,275 --> 00:14:21,935

Isn't that neat?

265

00:14:21,965 --> 00:14:24,965

How you can take a big old brush that

you'd normally paint a house with and.

266

00:14:26,260 --> 00:14:29,500

Shooting, just put all kinds of

gorgeous little details in here,

267

00:14:31,329 --> 00:14:32,589

and it really makes painting.

268

00:14:33,490 --> 00:14:38,599

It makes painting accessible

to them, everyone to everyone

269

00:14:38,910 --> 00:14:40,050

and nice traditional painter.

270

00:14:40,050 --> 00:14:44,400

I used to watch it with admiration, some

of these fantastic traditional painters,

271

00:14:45,480 --> 00:14:51,660

but they had spent 50 years of their life

or more or whatever, learning their craft.

272

00:14:52,920 --> 00:14:53,730

And I couldn't do it.

273

00:14:54,300 --> 00:14:54,360

Yeah.

274

00:14:54,469 --> 00:15:01,910

Without years and years of practice, this

is so fantastic because you can do it

275

00:15:02,420 --> 00:15:04,790

without, without spending half your life.

276

00:15:04,819 --> 00:15:09,560

Practicing people who take

classes with our instructors.

277

00:15:09,560 --> 00:15:13,520

They find on the very, on the very

first day, they go home with a

278

00:15:13,520 --> 00:15:18,620

completed painting, even people who

have never painted isn't that fantastic.

279

00:15:20,820 --> 00:15:22,200

Brighten it a little bit right there.

280

00:15:22,320 --> 00:15:22,890

That's about all.

281

00:15:23,220 --> 00:15:23,700

Okay.

282

00:15:24,240 --> 00:15:27,720

Now let's see.

283

00:15:27,900 --> 00:15:29,190

I'm getting ready to get crazy here.

284

00:15:29,190 --> 00:15:30,210

I know what's going to happen.

285

00:15:31,110 --> 00:15:31,650

I see it.

286

00:15:33,140 --> 00:15:36,170

I want this path right

here to just continue.

287

00:15:36,170 --> 00:15:40,430

So I'm using some of the Vandyke,

dark Sienna, put in a little color,

288

00:15:41,000 --> 00:15:45,230

go back to our little white and Brown

and very gently once again, just

289

00:15:45,230 --> 00:15:46,970

let it sort of graze across the top.

290

00:15:47,420 --> 00:15:48,500

I don't want a lot of color.

291

00:15:49,875 --> 00:15:55,484

Don't let her color just a

little something like, so,

292

00:15:57,015 --> 00:16:00,915

all right, now you're ready.

293

00:16:02,405 --> 00:16:04,594

You know, Bobby, he likes big trees.

294

00:16:04,805 --> 00:16:09,005

So today let's take some

Vandyke Brown, dark sand.

295

00:16:09,005 --> 00:16:12,094

I'm just mixing them on the

brush and let's really get crazy.

296

00:16:12,785 --> 00:16:16,594

The black Jesso allowed us to

do the background very quickly.

297

00:16:17,295 --> 00:16:17,865

Here we go.

298

00:16:19,334 --> 00:16:19,875

Yep.

299

00:16:21,165 --> 00:16:22,875

There's one big monster.

300

00:16:24,314 --> 00:16:25,245

Let's give him a friend.

301

00:16:25,275 --> 00:16:25,785

You know, me.

302

00:16:26,084 --> 00:16:34,275

I think everybody needs a friend, even a

tree, even an old tree deserves a friend.

303

00:16:35,220 --> 00:16:37,500

And all your trees don't

have to be straight.

304

00:16:37,970 --> 00:16:44,480

I mean, look, uh, trees are

like people they're different.

305

00:16:44,960 --> 00:16:49,340

You have trees that are big and strong

and heavy and little skinny trees.

306

00:16:49,340 --> 00:16:52,370

And they're really like people.

307

00:16:52,760 --> 00:16:54,470

And each one is an individual.

308

00:16:55,540 --> 00:16:57,689

Make up little stories about your trees.

309

00:16:58,230 --> 00:16:58,650

It's okay.

310

00:16:58,650 --> 00:17:03,480

If people look at you, like you look

crazy, tell him you're a painter, tell

311

00:17:03,480 --> 00:17:05,339

him you're an artist and you can do this.

312

00:17:05,430 --> 00:17:09,659

You can make up stories home,

because this is your world.

313

00:17:09,810 --> 00:17:13,050

And in your world, you can

have any fantasy that you want.

314

00:17:14,250 --> 00:17:17,579

And with a little paint, a little

practice, you can make that fantasy.

315

00:17:18,329 --> 00:17:18,720

Okay.

316

00:17:19,109 --> 00:17:19,800

Or reality.

317

00:17:21,105 --> 00:17:25,665

Maybe this old tree, maybe

he's leaning over, he's leaning

318

00:17:25,665 --> 00:17:26,595

right out of the painting.

319

00:17:27,105 --> 00:17:27,675

That's okay.

320

00:17:27,704 --> 00:17:28,335

We can do that.

321

00:17:29,625 --> 00:17:30,555

We can do that.

322

00:17:32,265 --> 00:17:33,665

That's tape card knife.

323

00:17:33,665 --> 00:17:37,115

I'm going to take a little titanium

wipe, a little bit of our Browns, both

324

00:17:37,115 --> 00:17:41,825

Browns, but I don't want to, overmix

see how the paint's marbled cut off a

325

00:17:41,825 --> 00:17:47,045

little roller paint, go up in here and

let's just touch right along the edge.

326

00:17:49,320 --> 00:17:53,490

There, it would just put in an indication

of some highlights on some of these trees

327

00:17:53,490 --> 00:17:57,030

and sort of pull it round like that.

328

00:17:57,410 --> 00:17:57,680

Okay.

329

00:17:58,940 --> 00:18:03,680

Now over here, all I'm doing,

just touching the canvas is

330

00:18:03,680 --> 00:18:05,060

really pulling off what it wants.

331

00:18:06,470 --> 00:18:10,040

There we are just like a

tax man does to my paycheck.

332

00:18:11,210 --> 00:18:14,750

He just pulls off what he wants

and what's left, which isn't much.

333

00:18:16,260 --> 00:18:18,270

He lets me hold for a few days.

334

00:18:19,680 --> 00:18:24,240

They'll get to keep it and just get

to hold it for a couple of days there.

335

00:18:24,270 --> 00:18:25,020

Same thing here.

336

00:18:25,050 --> 00:18:28,560

All you do is just touch the canvas

will pull off what it wants to leave

337

00:18:28,560 --> 00:18:35,820

you with the remaining amount, that

easy go back into a little bit of

338

00:18:35,820 --> 00:18:37,950

that dark color and just touch.

339

00:18:37,960 --> 00:18:39,330

Just sort of play this back and forth.

340

00:18:39,750 --> 00:18:41,129

And the pain is quite thick here.

341

00:18:41,520 --> 00:18:44,910

When this is dry, you can

actually feel the bark on a tree.

342

00:18:46,905 --> 00:18:52,485

Actually feel it, and it makes for

a wonderful effect on oil paintings.

343

00:18:53,775 --> 00:18:56,085

That's one of the things I

like so much about oil sleep.

344

00:18:57,195 --> 00:19:00,455

They have a thing I said

you can put on there.

345

00:19:00,485 --> 00:19:03,965

I've seen some of the old paintings

that, gosh, they must be a quarter

346

00:19:03,965 --> 00:19:05,105

of an inch thick in places.

347

00:19:05,135 --> 00:19:05,915

I love that.

348

00:19:07,415 --> 00:19:08,495

Absolutely love it.

349

00:19:09,095 --> 00:19:14,375

Areas that are very thick areas that have

thin areas that are basically just washes.

350

00:19:15,345 --> 00:19:15,885

Wonderful.

351

00:19:16,635 --> 00:19:17,085

Look at that.

352

00:19:20,535 --> 00:19:24,465

I've painted thousands of paintings

and I still get excited about this.

353

00:19:25,725 --> 00:19:26,595

Absolutely.

354

00:19:26,595 --> 00:19:27,915

It's it's wonderful.

355

00:19:28,185 --> 00:19:28,935

There's our light.

356

00:19:29,445 --> 00:19:31,965

So it's going to hit the other

side of this tree over here.

357

00:19:33,885 --> 00:19:34,395

there you go.

358

00:19:36,795 --> 00:19:39,585

And if you put a little too much

highlight, you can come back

359

00:19:39,585 --> 00:19:40,965

with the dark or vice versa.

360

00:19:41,055 --> 00:19:41,175

Yeah.

361

00:19:41,535 --> 00:19:42,855

There is no mistakes here.

362

00:19:43,875 --> 00:19:51,885

We have some happy accidents sometime,

but we don't make any mistakes there.

363

00:19:52,275 --> 00:20:00,275

All right, now let's take, let me find

a liner brush a number two script liner.

364

00:20:00,275 --> 00:20:04,245

I'm gonna take paint center

might as well get quite a bit.

365

00:20:04,245 --> 00:20:05,475

I'm gonna put some branches on there.

366

00:20:07,515 --> 00:20:09,855

I want this paint to be thin, like ink.

367

00:20:10,920 --> 00:20:11,129

Okay.

368

00:20:11,190 --> 00:20:13,639

Let's put a, let's put

a few arms on our trees.

369

00:20:13,649 --> 00:20:16,440

I'm gonna put some leaves on these,

so we don't have to get too detailed.

370

00:20:16,590 --> 00:20:18,000

Most of them going to end up covered up.

371

00:20:19,590 --> 00:20:23,430

If you have enough paint thinner

on your brush, that you mix with a

372

00:20:23,430 --> 00:20:25,560

paint, this will literally just flow.

373

00:20:25,860 --> 00:20:27,500

It will just flow right across there.

374

00:20:29,180 --> 00:20:29,750

Okay.

375

00:20:30,540 --> 00:20:33,139

We don't put leaves on there,

so we don't even, we really

376

00:20:33,139 --> 00:20:34,310

don't care about most of them.

377

00:20:35,655 --> 00:20:38,925

We're just looking for

indications, indications.

378

00:20:38,925 --> 00:20:40,425

That's all a little more pink thinner.

379

00:20:41,285 --> 00:20:41,405

Okay.

380

00:20:42,635 --> 00:20:51,035

And over here, maybe there's some old

arms hanging off this, or he asked to make

381

00:20:51,035 --> 00:20:53,885

little noises, Steve, and Steve's my son.

382

00:20:53,885 --> 00:20:54,815

We both do that.

383

00:20:56,105 --> 00:20:58,775

Maybe we'll taco Steve and they're

doing a show in this series.

384

00:20:59,075 --> 00:21:02,795

We've had such a fantastic response

when he's worked with us in the past.

385

00:21:03,825 --> 00:21:08,775

Maybe we'll just talk a little rascal

into doing a show, little rascal

386

00:21:08,775 --> 00:21:11,265

piece over six, six, nine, I think.

387

00:21:12,315 --> 00:21:19,065

And I think he's still growing calls me

shorty, but he is one dynamite painter.

388

00:21:19,515 --> 00:21:24,075

I know I was just an old prejudice

daddy talking, but I think he's,

389

00:21:24,285 --> 00:21:26,915

I think he's fantastic painter.

390

00:21:27,815 --> 00:21:28,295

All right.

391

00:21:30,485 --> 00:21:31,445

Time to have some fun.

392

00:21:32,985 --> 00:21:34,485

Yeah, we use this old two inch brush.

393

00:21:34,485 --> 00:21:35,055

It don't matter.

394

00:21:36,185 --> 00:21:38,405

We'll go right into that dark

color was using for the bottom.

395

00:21:39,095 --> 00:21:41,795

Let's put the indication of

a few leaves on these trees.

396

00:21:42,695 --> 00:21:43,055

Okay.

397

00:21:44,045 --> 00:21:46,625

I'm just using the corner of the

brush and I'm just going to tap

398

00:21:46,625 --> 00:21:49,025

in some very basic little shapes.

399

00:21:50,015 --> 00:21:51,815

Now you see why I wouldn't

worry about the lamps.

400

00:21:52,205 --> 00:21:55,325

The few that show will be wonderful.

401

00:21:56,940 --> 00:21:58,350

The ones that don't,

they don't care about.

402

00:21:58,350 --> 00:22:00,510

Anyway, just the corner.

403

00:22:00,540 --> 00:22:02,100

You don't have to use the entire brush.

404

00:22:02,130 --> 00:22:05,390

Just here we are.

405

00:22:05,750 --> 00:22:07,100

And we can go right up in here.

406

00:22:08,390 --> 00:22:12,830

You decide, you decide maybe

it's tree is tilted over.

407

00:22:12,830 --> 00:22:15,380

Maybe he's got some arms that

are sticking out through here.

408

00:22:18,254 --> 00:22:19,034

And it's wonderful.

409

00:22:19,034 --> 00:22:19,695

What you can do.

410

00:22:20,294 --> 00:22:21,315

Just a big little brush.

411

00:22:22,365 --> 00:22:22,965

You can do it.

412

00:22:23,625 --> 00:22:25,055

Take same breath, showing him change.

413

00:22:25,065 --> 00:22:30,004

Brush is going to little SAP green,

some yellow CAD, yellow, yellow

414

00:22:30,004 --> 00:22:33,365

ochre, and in yellow here and there,

once in a while, I'm going to touch

415

00:22:33,375 --> 00:22:37,294

a little bit of the Brown, where

he had the bright red X is a dollar

416

00:22:38,195 --> 00:22:39,935

because we hadn't green her opposites.

417

00:22:40,920 --> 00:22:41,910

So they make Brown.

418

00:22:41,910 --> 00:22:42,840

When they're mixed together.

419

00:22:44,670 --> 00:22:46,950

Here we are, and that'll Dole the color.

420

00:22:47,940 --> 00:22:50,310

And I don't want this

as bright back in here.

421

00:22:51,420 --> 00:22:53,460

They're all right.

422

00:22:53,790 --> 00:22:58,470

Over in this old tree, just use

the other corner threes and they

423

00:22:58,470 --> 00:22:59,820

put two corners on the brush.

424

00:23:01,320 --> 00:23:02,160

Look at those leaves.

425

00:23:02,220 --> 00:23:03,030

See, see you.

426

00:23:03,610 --> 00:23:04,020

They come.

427

00:23:04,980 --> 00:23:08,310

You just pop them in wherever

you want them wherever you want.

428

00:23:09,570 --> 00:23:10,200

All right.

429

00:23:11,580 --> 00:23:12,780

Just to add more paint.

430

00:23:13,580 --> 00:23:15,830

Anytime the brush goes

away, I'm just adding paint.

431

00:23:18,410 --> 00:23:22,670

They're just bring them all together.

432

00:23:24,150 --> 00:23:25,490

Don't kill all the dark leaves.

433

00:23:25,490 --> 00:23:27,500

Some of the dark shoe

through it's very important.

434

00:23:28,430 --> 00:23:29,960

You need to have those shadows in there.

435

00:23:32,685 --> 00:23:37,125

And dip the brush into the at least

little touch of paint thinner.

436

00:23:39,270 --> 00:23:42,460

As your paint begins to get thicker

and thicker on the canvas, you need

437

00:23:42,460 --> 00:23:44,790

to a thinner color to stick to it.

438

00:23:44,790 --> 00:23:47,580

Sometimes you have to add

a little touch of paint.

439

00:23:47,610 --> 00:23:48,720

Thinner, not much.

440

00:23:48,929 --> 00:23:49,620

Didn't take much.

441

00:23:50,850 --> 00:23:52,379

I can get away from me in a heartbeat.

442

00:23:54,629 --> 00:23:57,710

Maybe I'll brighten those just a

little bit to separate the two trees.

443

00:23:57,710 --> 00:24:00,120

See, I just snatches that

tree right out in front.

444

00:24:01,169 --> 00:24:01,679

Sneaky.

445

00:24:03,149 --> 00:24:03,689

We can do it.

446

00:24:03,689 --> 00:24:04,350

Anything here.

447

00:24:05,520 --> 00:24:06,330

Annual thing.

448

00:24:07,290 --> 00:24:07,920

All right.

449

00:24:09,270 --> 00:24:13,200

And we can clean up his

foot's a little putting a few

450

00:24:13,200 --> 00:24:15,030

little things here and there.

451

00:24:15,480 --> 00:24:17,250

Maybe there's a little

bushlands right down here.

452

00:24:17,370 --> 00:24:17,820

I don't know.

453

00:24:19,170 --> 00:24:19,880

I don't know.

454

00:24:20,370 --> 00:24:22,530

Take a little Filbert brush,

a little bit of Brown.

455

00:24:24,360 --> 00:24:26,910

Don't put a little what remains

of a little fence right there.

456

00:24:27,030 --> 00:24:31,320

See, maybe filled out.

457

00:24:32,760 --> 00:24:34,679

The highlight color right across the top.

458

00:24:35,429 --> 00:24:37,020

John Chu.

459

00:24:38,280 --> 00:24:42,060

I think we can take our liner

brush, sign this little rascal

460

00:24:43,379 --> 00:24:44,280

and have a finished paint.

461

00:24:44,310 --> 00:24:45,449

I hope you've enjoyed this one.

462

00:24:46,980 --> 00:24:52,050

As I say, the black and the gray Jesso

mixed with a little clear, well, let you

463

00:24:52,050 --> 00:24:57,060

do things that are almost unreal and you

could do them very, very simply send me

464

00:24:57,060 --> 00:25:00,510

a photo of what you do and I'd love to

see it until then from all of us here.

465

00:25:00,600 --> 00:25:01,889

I'd like to wish you happy painting.

466

00:25:02,580 --> 00:25:03,720

And God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S29E04 - Light at the Summit

Bob Ross's

The Joy of Painting

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