Bob Ross's

The Joy of Painting

S29E10 - Pot O' Posies

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Hey, welcome back.

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Certainly glad you could join us today

because today is a very special day.

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You know, over the years, I've got

literally hundreds of letters from people

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saying, teach us how to paint florals.

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Well, I'm not really a floral painter.

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I'm really a tree and

mountain type person.

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So I've asked a very dear friend

to come in today and help us

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with a little floral painting.

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I'd like to introduce you to my partner

and long-time friend, Annette Kowalski.

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Annette, welcome to the show.

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Thanks.

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We're going to have a net

paint, a little flower for you.

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And I'm just going to turn the show

over to her and I'll see you later.

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Thank you.

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Since Bob has invited me to share

with you the joy of painting flowers.

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Let's start right away by having

a look at the colors we're going

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to use to paint these flowers.

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Most of the painting I'm going

to do with just this one brush.

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And I'll start by doing a basic

sketch on this black canvas.

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This is a canvas that's been

covered with black Jesso.

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We're going to roughly

sketch our composition.

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I'm using a lizard in Crimson and

I'll just sketch a little pot.

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To begin with notice it's not

right in the middle of the canvas.

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I don't care whether it's perfectly round.

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It's not in the middle from side

to side or up and down little

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pot and two little flowers.

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These are not easily identifiable flowers.

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We're going to keep them.

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Fantasy flowers.

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If you paint a fantasy flower, you don't

have to worry too much about where the

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pedals are or how many pedals it has.

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But if you paint an Iris or arose,

well, you have to really put

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those pedals where they belong.

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I have a rough sketch on the canvas,

two circles for the flowers in the pot.

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I'm loading a large brush

with a tiny bit of red.

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And I'm going to begin up at the top

here with just a little backlighting

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flowers are easy to paint on black canvas.

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I recommend that if it's your first flower

painting, you start with a blank canvas.

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You don't have to worry about all of

this little bit of light below the pot.

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You don't have to worry about all

this negative space in backgrounds.

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I love black canvases and that's

really all we do for light.

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Now let's get on the pot.

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The pot is painted, was a mixture

of alizarin, Crimson and SAP green.

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I use no earth tones, alizarin,

Crimson, and SAP green.

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Make a beautiful Brown Christmas

Brown, a good friend calls this

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because it's made with red and green.

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I'm going to load my brush

with that Christmas Brown.

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And I'm going to block in

the dark area of the pot.

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Just block it in right around the edges.

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No, there just, this pot is dark,

just loose crisscross strokes,

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right around the edge of the pot.

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We'll say that the light is coming

from the right, so there'd be

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a little more dark on the left.

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I'm picking up some red, yellow, orange

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in heading the light area of the pot.

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Just loose crisscross.

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Strix save this little tiny

area in the middle for your

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lightest color, which is yellow.

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Okay.

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Little yellow loose crisscross strokes.

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Doesn't that look messy.

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You want it to look messy?

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This is a Mexican pot.

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I've just wiped my brush by

the way, with a paper towel.

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Now I'm going to use loose crisscross

strokes to lightly blend, very lightly

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blend one color into the other.

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This is a Mexican pot handmade.

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And so it would be sort of crude looking.

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The contrast of the flowers with the

loosely painted pot is quite nice.

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I'll go back again to my larger

brush, just blend out the

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palette with horizontal strokes.

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And that's about all there

is to painting your pot.

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We can add a little reflected

light with a mixture of turquoise

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and move right down this side.

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Just a little bit of light before we

actually get into painting the flowers.

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Are using mixture of CEP green and

blue loosely blocking an area here

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where some leaves will go later.

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Just keep this very dark.

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I know that it's hard for you to

see this on a black canvas, but

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when we apply the highlight, I

think it'll become more visible.

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Do keep it dark.

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You don't have to just paint by face

when it's this dark against your canvas.

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Before we go too far, I want

to go back now to the pot and

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just put a little lip here.

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This lip is important.

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You'll see why later the surprise comes

later, but that little lip is important.

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Maybe up at the top.

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We'll just block and what might

be some indication of similar

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Leafs right up at the top.

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Let's get to our flowers.

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Brandy used quite a bit of

painting, medium and similar

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lizard and Crimson use very loose

strokes to undercoat the flowers.

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This is just an undercoating.

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It's not going to look like anything yet.

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It's just an undercoating.

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All we're doing is placing now.

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We've placed a leaf area.

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These loose.

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This is the second flower.

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We'll call these Poseys a pot of posies.

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How about that?

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That's neat.

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And pot of posies.

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Just block them in for placement.

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We'll allow that to dry for just a few

minutes while the flowers are drying, I'm

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going to go back and shape some leaves.

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Let's start right over here.

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Pull these strokes in, towards

the center of the leaf.

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I know how dark that is.

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I know you're having trouble,

but trust me, you're going to see

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it before it's over, you know,

it's there and I know it's there.

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Well, I know it's there, even

if you don't know, it's there.

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Watch the miracles that happen.

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When you apply the highlights,

just a few little leaves.

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The highlights are the fun parts.

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So we don't want to do that too soon.

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Let's let these lips come

cascading down out of this pot.

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Just let them hang right down.

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We had a lot of canvas to fill up.

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This is a 12 by 24 canvas, by

the way, it's very rectangular.

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It's a gorgeous canvas.

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When it's framed.

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It's a fun canvas for composition reasons.

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It's a lot easier in my mind to compose

a floral painting on a canvas like

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this than something that's too square.

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Maybe it's because flowers grow.

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Tall and thin.

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And so it just makes a lot of sense to me

to put a flower on a tall, thin canvas.

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Now you trusted me with those leaves.

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So watch what happens.

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I'm not telling you a story.

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This lifts that's on the dark side, touch

a little highlight to the edges, and

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there's just the slightest indication.

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I don't believe now it

begins to show a little bit.

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Watch what happens over here.

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If you just touch little

highlights, there is a leaf there.

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See, aren't you glad you trusted me.

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He really thought you really

weren't sure they're released.

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Um, but you thought that woman

doesn't know what she's talking about.

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All I see are these.

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Yeah, you don't have to do every

one, but it's just enough to

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bring them out a little bit.

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Now I'm going to clean my brush

and odorless paint center and we

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start working on these two flowers.

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I'll start with this one.

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It's the most distant flower

I'm going to use the mixture

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of blue and little Crimson.

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Maybe some move and I'll put

that mixture right in the center.

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Again, you're going to have to trust me.

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This is very dark.

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I'm pulling that mixture out in the

direction that the flower is facing.

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I might also use the same color

move in blue and Crimson to add a

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shadowed area at the base of the

flower, same mixture, Merv Crimson.

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Blue plop in the middle of

this flower, pulled this in the

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direction that the flower is facing.

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And again, a little bit of shadow

underneath the cup of the flower.

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These are fantasy flowers.

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They'll have some pedals that are

folded up and under the folded up

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pedals will be a shadowed area.

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I think that will become more obvious

when we begin to find the pedals that

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this flower I'm loading my brush.

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Now with the dark red, just read,

and I'm going to find cup of

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pedals in the back of this flour.

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I'm using just red.

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And again, I know you, I can't see this.

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Trust me.

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We'll go back later.

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If they're not showing up enough, we'll

go back later and further highlight,

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notice that each stroke is directed

towards the center of the flower.

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And if it's too hard to see

just the indication of it.

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A few highlights later,

let's wrap this pedal around.

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We can just indicate

with a few highlights.

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This one can wrap around here.

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Keep the edges roughly this'll

probably get lost, but it's fun to

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just keep wrapping pedals and there

should be a little pedal right on

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the base here, right at the base.

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Something it's important

to keep this area open.

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And I think you'll see why in a

minute, let's work on this closer one.

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This one's facing down too big, two

or three big pedals, very dark, very

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mysterious painting, very mysterious.

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Painting the Sith.

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Now the little folded up pedals

are actually facing down.

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I just using red.

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I'm just using red, no

other color, just plain red,

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not picking up anything else.

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I am always loading my

brush to a chisel dead.

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This is important when you're painting

flowers for almost every, a stroke

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that you make in a floral painting.

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This brush needs to

really be well-groomed.

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The paint has to be worked very

well into the bristles and the brush

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should come to a chiseled edge.

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I can't think of any thing that you

paint in florals where you don't

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need that chiseled edge, whether

it's leaves, pedals, buds, almost

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any part of the floral painting.

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You have to work with a chisel brush.

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If you can learn to load your brush

properly, I've got blue and green, and I'm

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going to go up here and add another leaf.

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If you can learn to load the brush

properly, floral painting is a snap.

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I've noticed that that's the area

that most people have trouble with.

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Um, just loading the brush properly.

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If your paint is getting too sick

and add a little paint center, go

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easy on any kind of an oil medium,

because that too can make your paint.

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Thick and goopy on the canvas.

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Now we don't want to just leave

this pot suspended in space, so

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let's see what we can do with it.

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I'm going to load my brush with blue.

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Yeah.

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Maybe some move and black, anything dark.

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This would be a good time to use black.

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And again, you're going to

have to use your imagination.

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Let's suspend some ropes that this.

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Part is hanging from I'm

using black Moe's blue,

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just to indicate where the

ropes would be coming down.

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This one,

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you have to be brave to do.

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This, this one is in the back.

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This one comes to this point.

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It'll go right over your flour.

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And there's another one in the back.

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The spots are usually

hanging by three chords.

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It's hard for me to get my perspective

here because of the angle, but know,

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in your mind that these three courts

come together someplace at the top.

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Off the canvas.

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So be sure that you keep that in

mind when you're painting them.

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This cord comes through the lip

as a pot, makes a little knife or

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little knot wraps around the pot.

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Be sure it goes in the shape of the pot.

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Underneath is a nice big nut where the I'm

still just using black and blue and move.

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It's not too important.

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The color that you use this will later

become chords that are hanging down.

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We're just under painting

the chords at the base.

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You can go back and use some

of the same Brown color.

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I'd like to take just a few minutes.

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I had some little bets.

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Let's put a little bit out this way.

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This is very loose blocking

and just lock it in st.

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Elizabeth and Crimson

little bud, maybe down here.

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This can be very loose.

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Doesn't take any shape at all.

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Little bit of a dark move center.

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And again, with the highlight color,

the tiniest little indication of pedals,

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look what just a couple of trucks can do.

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Do you relieve that with

just a couple brush strokes?

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You actually have a little flower.

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You haven't even done anything.

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Just a couple of little strokes.

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This is the advantage of a black canvas.

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If you're painting on white

canvas, you have to do a little

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more than a couple of strokes.

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This is why I suggest black canvases are

wonderful for your first floral painting.

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You really don't have a lot to

deal with just a couple of little

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strokes and you have a flower

before we go too much further.

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00:17:46,935 --> 00:17:52,395

I'm loading my brush to a chiseled

edge with the light red, the red light.

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00:17:53,955 --> 00:17:58,155

I have quite a bit of paint on the

brush and it's a very dry I've mixed,

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no medium or thinner with this paint.

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00:18:01,395 --> 00:18:08,115

I'm going to touch just a couple

little highlights to these flowers.

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Very mysterious, little highlights.

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Don't overdo.

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This is easy.

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A lot of times, people want

to just go crazy with those.

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And it's really not necessary.

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00:18:24,524 --> 00:18:27,705

Just that little bit of a

highlight here and there.

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00:18:32,135 --> 00:18:37,475

while we're highlighting, let's

give our cord with some orange,

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00:18:38,825 --> 00:18:42,335

this, this right over the black, and

we'll make this look like a rope.

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Just make it look like a rib, just a hint.

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There's our knot underneath.

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If you remember that.

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Not little highlighter in this corner.

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Okay.

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Using various mixtures of Crimson

are Brown or Christmas Brown,

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red and yellow Christmas Brown.

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We'll add some little.

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Cords or a TESL, I guess that's a tassel.

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Isn't it?

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You could do this with a liner brush.

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You could spend a lot of

time with the liner brush.

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This can be a little reflected

light on the backside of the court.

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00:19:28,935 --> 00:19:29,985

Look, what I am is,

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well, I just a little bit of highlight.

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Two, this area of our group.

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That's not going to show up,

still add a little bit of white.

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It's the first time I've

used white in this painting.

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00:19:50,195 --> 00:19:52,024

I've done this painting a lot of time.

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00:19:53,044 --> 00:19:59,345

I can't, uh, I can't tell

you, I can't make you think.

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00:19:59,345 --> 00:20:03,875

Otherwise we've done it at

the reunion with our CRS, by

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00:20:03,875 --> 00:20:04,985

the way, we have a lot of.

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00:20:05,790 --> 00:20:08,490

Uh, instructors who are

teaching floral painting.

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00:20:09,899 --> 00:20:13,860

Usually it's quite a challenge to

me to paint this whole painting

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without using any white at all.

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I think that's what helps

to make it so exciting.

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00:20:22,500 --> 00:20:27,000

I think it, the colors

are vibrant, transparent.

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00:20:27,419 --> 00:20:31,919

If you don't use white,

white is a very opaque color.

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00:20:35,295 --> 00:20:37,665

I'm going to take a small Filbert brush.

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00:20:37,875 --> 00:20:42,875

This is a tiny little silver

brush and I'm going to use black.

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00:20:44,135 --> 00:20:50,705

And I think move, I mean, just tap

in some little centers, right in the

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00:20:50,705 --> 00:20:54,665

middle of our policies, Pata, posies.

297

00:20:55,745 --> 00:21:07,170

He tapped in little centers and again,

. Pull out some real statements, pull out

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00:21:07,170 --> 00:21:14,970

local statements, maybe with some pink

and some yellow, uh, tap on just some

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00:21:14,970 --> 00:21:18,330

little highlights, tiny little highlights.

300

00:21:19,740 --> 00:21:27,170

I wonder if you wouldn't like to see

a little stand that comes up here.

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00:21:30,120 --> 00:21:35,490

Wraps around the cord comes down

and there's the leaf you could

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00:21:35,490 --> 00:21:43,470

spend really just hours and hours

on this painting just and hours.

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00:21:45,389 --> 00:21:50,730

I'm really happy that Bob got me

out of the closet with my floral

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00:21:50,730 --> 00:21:52,830

paint box and trying for 10 years.

305

00:21:53,520 --> 00:22:00,450

I kid you not for 10 years, Bob has

been trying to get me to do this.

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00:22:02,160 --> 00:22:07,710

I have so much paint on this Filbert

brush, but I'm going to use it

307

00:22:08,790 --> 00:22:16,320

tiny little strokes to add some

daisies or a little wild flowers,

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00:22:16,320 --> 00:22:17,790

whatever you want to call them.

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00:22:19,035 --> 00:22:20,925

Just a couple of little flowers.

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00:22:20,985 --> 00:22:24,375

Anyway, Bob's been trying

for years to get me to come

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00:22:24,375 --> 00:22:27,675

forward with my floral painting.

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00:22:29,655 --> 00:22:34,725

If you're hiding in the closet, painting

florals, why don't you decide to

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come out of the closet with florals?

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00:22:38,355 --> 00:22:43,875

And by the way, you would be surprised

at how many men enjoy painting flowers.

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00:22:44,415 --> 00:22:50,355

When I teach flowers, There are

actually, I think more men in the

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00:22:50,355 --> 00:22:52,245

floral painting classes than women.

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00:22:53,595 --> 00:22:57,615

So even if you're a man, don't

be afraid to come out of the

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00:22:57,615 --> 00:22:59,205

closet with your florals.

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00:23:00,405 --> 00:23:03,225

We could give some little stems

320

00:23:06,275 --> 00:23:14,045

to these little flowers,

additional little highlights.

321

00:23:14,820 --> 00:23:17,640

Maybe the rope cord.

322

00:23:18,870 --> 00:23:29,220

It's fun to end with your, uh, liner brush

and add some highlights in this TESL.

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00:23:29,220 --> 00:23:34,770

Some really don't make them too light

like I'm doing, but you might really

324

00:23:34,770 --> 00:23:40,530

want to add some little chords that

are really swirling around here.

325

00:23:42,315 --> 00:23:44,295

Let him really play in swirl.

326

00:23:48,275 --> 00:23:50,315

Go back and be sure that you've

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00:23:53,315 --> 00:23:57,695

put enough little

highlight here and there.

328

00:24:02,405 --> 00:24:05,645

Look and see if there's any

area of your painting that.

329

00:24:07,334 --> 00:24:10,425

You think needs a final highlight?

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00:24:11,865 --> 00:24:18,215

Here's the main thing that needs a

little help, but don't overdo again.

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I caution you.

332

00:24:20,195 --> 00:24:21,155

Don't overdue.

333

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You can very quickly lose this painting.

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If it's got too much

highlight, keep it dark.

335

00:24:30,064 --> 00:24:31,564

Keep it mysterious.

336

00:24:35,180 --> 00:24:39,560

But by all means come out of

the closet and paint flowers.

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00:24:39,980 --> 00:24:43,010

I hope you enjoy the

joy of painting flowers.

338

00:24:43,520 --> 00:24:44,810

Thanks for watching.

339

00:24:45,379 --> 00:24:45,980

Bye-bye

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S29E10 - Pot O' Posies

Bob Ross's

The Joy of Painting

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