Bob Ross's

The Joy of Painting

S30E09 - Mountains of Grace

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Hi, welcome back.

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Certainly glad you could join us today.

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You know, every once in a while I get my

son Steve to come in and do a show for us.

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And today we're fortunate enough to have

Steve right here in the studios with us.

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And I've asked him if he'll

do a little show with Steve.

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Welcome to the show.

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Thanks Dan.

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Good to have you with me.

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My son tell you what, huh?

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I'm gonna to turn this over to Steve.

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Let him do a fantastic little painting

for you and I'll be back later, Steve.

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Good luck.

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Thanks a lot.

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Okay, we're going to do

something real simple, but,

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uh, yeah, complicated to today.

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Uh, the beginning of it we'll have

a few little clips back in here

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and, uh, our range of mountains in

front of it was a mist in between,

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but let's just get on with it.

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Um, I've already coated the canvas

with a thin, even liquid white.

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And I'm going to start off by, uh,

putting a little, but oppression

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blue on the brush, maybe a little

pressure and a little fellow together.

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We're not.

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Use both of them, make sure you load

both sides of the brush real evenly.

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We'll just go with a simple blue sky

today and there'll be running your

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colors across the screen here for you.

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Just make little extra, looks like this.

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And as you come towards the center,

kind of turn the brush onto the side.

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So it makes your shape smaller.

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That leads the eye into the distance.

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Keep those corners nice and dark.

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Okay.

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And then maybe a little bit

of the same two blue colors

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and a tiny bit of SAP green.

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And we'll use this for a watercolor.

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Always make sure to get that

pain in the brush real evenly.

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That's super important.

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Just straight, horizontal strokes.

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Yeah, and we might leave a little

bit of light in the center.

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Okay.

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Now with a clean dry brush, you can

go ahead and start blending that

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out, starting your light area first,

and then go out towards the blue and

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try to kill those edges in between

the light color and the dark color.

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Make them look like they just

flow together and never stopped.

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And one thing you don't want

to do is over blend your sky.

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You want to leave some of these nice

dark, enlightened mixtures in there.

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And on the bottom of the

canvas, do the same thing.

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Try to leave a tiny bit of

that light in the center.

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Once again.

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Sometimes it'd be a problem.

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Uh, a problem blending

the water down here.

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You can always push in real hard with

the side of the brush and get rid of

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some of those streaks that you've got.

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It's like that.

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Okay.

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Yeah, I'm going to use my palette knife

and I think put some clips in the back.

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I really don't know what

I'm going to paint today.

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I'm just kind of making it up

as I go along little Brown,

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little black, little blue.

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And about half that much Crimson

and two, this color, I'm going

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to add a little bit of white

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and we'll jump right

back in here real quick.

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Just throw any old thing in it.

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Doesn't really make any difference.

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Kind of some triangular

shapes to start with.

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And you want to scrape all that

paint down to bare canvas too.

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Here we go.

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Just some far away things.

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Remember you want to keep it your lightest

colors in the background and you're

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darker this one's in the foreground.

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Cause you're closer to

the sun way back here.

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So it's brighter.

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And then we can just pull that down with a

dirty two inch brush will work just fine.

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Sometimes I use a dirty brush

intentionally, you know, so I get

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some of that last color I used in

the, in the things that I'm going

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to put in front and X out the bottom

a little I'll give it that Misty.

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Look,

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maybe a few little white highlights.

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I don't like to use pure white though.

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Try putting a little bit of the mountain

color itself and with it, dial it down.

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Maybe even leave it marble like this.

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He had a little roll on the knife.

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Here we go.

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Stay away from using too

much paint back in here.

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You want to let the grain of the

canvas do most of the work for you.

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Okay.

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And if you just stick a little

bit of pressure and blue with

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that same color, you can always

make a nice light blue shadow.

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Come down on that other side of that.

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It doesn't have to be anything perfect.

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This is way off in the distance.

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And most of it will be covered up.

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This is what we call diet painting

just for the practice of it.

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There we go.

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And it's amazing if you go in with a two

inch brush afterwards, you know, and blend

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it out a little bit on a soft Misty effect

that will give if you're really, really

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brave, it will be your bravery test.

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Just pull down.

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Over that whole thing.

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Dangerous.

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You got to take a few chances though.

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Here we go.

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Okay.

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Let's put a real big

mountain in front of this.

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We'll just go with the pure dark color

I mixed up before maybe with a touch,

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more lizard in it was throwing a nice

big one that comes right across here.

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This one will be a

little bit more dramatic.

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It'll have, uh, a lot of contrast in it,

probably quite a few more highlights.

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you mean if you want to, uh, before

you go too far, you can take a little

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white on your fan brush and squeeze in

a tiny little Misty spot right here.

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I've only got time for one, but

you can make as many as you want.

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Blend that out just a little bit like

a little cloudy thing back in there.

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Here we go.

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And you might want to pull out the

mountain shape that you just put on too.

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Okay.

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I've purposely left a little bit more

excess pain on this, because if you

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scraped too much off, sometimes you get

too light of a mountain and you don't

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get enough contrast out of it later.

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Make it nice and dark.

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Okay.

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Little roll of titanium,

white on the knife.

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Okay.

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yes.

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Lay in a few quick highlights,

kind of turning the knife on the

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way down to widen the stroke.

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Yeah.

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When there was almost like a cliff

again, that's, what's so nice

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about this style of painting.

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You just never know

what's going to happen.

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You kind of just working with

it and it just flows and.

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Comes out just the way it wants to.

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You really, really need that

practice in there to get the control.

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Okay.

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Was something like that then that

same old shadow color for the shadow

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color of these forward ones, a work

you might want it a little bit darker.

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Okay.

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Here we go.

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And then right over here.

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Well, it make like a little

glacier area happened in there.

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We don't want to get too technical though.

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A lot of times, uh, I found when I

first started painting, you know,

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I tried too hard and I would do too

many little things and it's really

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better just to put it in there.

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Like it flows out of the brush

and knife and let it happen.

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Cause it seems like the worst

thing on your painting to you is

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the best thing to somebody else.

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I find that, yeah, most, all my

paintings there'll be a tree or a Bush.

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I don't like, and somebody will say, man,

that's the best part of the painting.

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Maybe they're just patronizing

me, but I don't know.

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After hearing that a lot of times we

begin to wonder, okay, go in with a

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few pine trees now just, uh, he can

mix this right on your brush, a little

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pressure and blue SAP, green Crimson

Brown, just whatever, a dark green color.

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Yeah.

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For the background, we'll go into

a little bit of that old blue

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shadow color to lighten it up.

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and I'll come back later and use the

dark color for the forward trees.

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Like I said, lighter in back

and darker as you come forward.

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Just throw it right in there.

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I find these trees come out a

lot better if you do them fast.

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Cause, uh, you get into that symmetrical

thing, you know, if you linger around

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in one spot, you know, have fun with it.

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So you can build a little Island

just real quickly by smashing

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up on the brush, nothing to it

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and mystery over here, it looks lonely.

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We'll give him a friend right there.

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Here we go.

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Maybe that's just half a tree.

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It's halfway off the canvas.

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Little baby down here.

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That's what you needed to do.

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Thank you.

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Your tree is like a family.

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You got the mamas and the Papas and

the babies, all different shapes

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and sizes never make two trees.

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Exactly the same.

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Of course, that'd be kind

of hard to do anyway.

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It wouldn't.

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Okay.

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A little bit of the same green color and

just pull that down for a reflection.

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Remember a reflection should

only be as low as what's above.

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It is high.

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So over here, pull down far

and then shorter and shorter

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as you come to the left.

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And then we probably should use a

clean brush for this go across that.

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Okay.

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Just like we made the mountain.

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If you take a little bit of your, uh,

Vandyke Brown, get a roll on your knife.

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And just kinda pull,

just like breaking snow.

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And you want to remember that most

of this land will be covered up.

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So don't spend a lot of time on it.

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Little dark, CNN, white

for a highlight of work.

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Good.

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About half and half.

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Here we go.

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That's close enough.

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like I said, I don't try

to get things too precise.

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I don't believe precision

is very artistic myself.

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Some people have different opinions.

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I know a real famous portrait painter

named John damn that says a portrait

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should never look like a photograph.

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And I, I believe that.

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Cause I like the way he does them.

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And to me, they look much more

artistic than something that

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looks too natural, too real.

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I don't think that's what it's all about.

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You can do that with a camera.

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Can't you a little bit of cadmium

yellow with a touch of Tayloe blue

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for your highlight on your pine tree.

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And.

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I want to get through with a highlight.

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Maybe I'll want a little trunk down

at the bottom of a couple of them, but

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remember, these are still pretty far off.

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This is like your mid ground area.

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there we go.

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I love that green color.

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That's one of my favorites.

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yeah, maybe with a little van

Dyke Brown, you can make a couple

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little trunk type impressions.

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Maybe a touch, a highlight on

them, same shadow and highlight

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as you use for your land.

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Keep those highlights on the right

of everything because your is coming

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in, like from this direction here,

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cover up a little bit of nose.

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Okay.

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Let's go ahead and do some

bushes with the one inch brush.

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Uh, you'll notice on these bushes.

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If you pull through the paint

without tilting your brush downward.

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You'll have a lot better luck because

if you get too much paint too high

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up on these bristles here, you'll

have a problem to be very careful to

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keep that brush straight up and down.

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Tap down into your paint, flip it

over where the heels to the top,

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and then very lightly touching.

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He gets those nice sparkling bushes

I'm using dad's brushes today and

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they seem to work better than mine.

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I think they're magic.

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I'm convinced because this works

much better than my Bush brush.

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Of course I've worn out.

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I've probably had it for 10 years.

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You know, that's how it is.

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You get ahold of a brush.

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You like, and you don't want to let go

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dead might find his brushes

missing after this show though.

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Heroin go.

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Oh, yeah.

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If you wanted to reflect a couple

of those, that'd be a nice idea.

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Just real quick reflections like this,

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and pull down,

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go across there.

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We'll do a little shoreline under here.

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A little bit of liquid white and

maybe a touch, a blue, any old blue.

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You don't want a blue water line.

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You just want kind of an off

white cane, a little bit of

252

00:15:24,825 --> 00:15:25,845

that on the edge of the knife.

253

00:15:25,875 --> 00:15:30,495

And then just real lightly

go into the edge of that.

254

00:15:37,955 --> 00:15:38,045

Okay.

255

00:15:38,645 --> 00:15:39,365

Okay.

256

00:15:40,355 --> 00:15:45,215

And this other side, maybe we'll have

what type of big bushy tree I think.

257

00:15:45,824 --> 00:15:47,265

We'll we'll do it with the big brush.

258

00:15:50,395 --> 00:15:51,485

Pull through a little bit of that.

259

00:15:51,485 --> 00:15:53,885

Same green, black, and Brown.

260

00:15:59,375 --> 00:16:00,485

I must've been wrong before.

261

00:16:00,485 --> 00:16:03,125

This might be the biggest bravery

trail test on this painting.

262

00:16:03,125 --> 00:16:05,765

This is a huge tree monster.

263

00:16:11,490 --> 00:16:11,580

Okay.

264

00:16:22,760 --> 00:16:25,520

And this is just some

excess foliage over here.

265

00:16:28,700 --> 00:16:30,590

Be afraid to smash in a big dark area.

266

00:16:30,590 --> 00:16:32,570

Cause you can always highlight

it and make it look right.

267

00:16:34,520 --> 00:16:37,190

I never worry about the first few

steps I put on because I know the

268

00:16:37,190 --> 00:16:38,540

next steps are gonna make it better.

269

00:16:43,204 --> 00:16:45,785

Besides being worried is not

what painting's all about.

270

00:16:45,785 --> 00:16:48,005

It's about having fun, enjoying yourself.

271

00:16:51,545 --> 00:16:52,324

Okay.

272

00:16:52,474 --> 00:16:57,305

Let's see here, pallet knife,

and maybe we'll make a little

273

00:16:57,305 --> 00:16:59,944

bit of trunk action in this tree.

274

00:17:00,395 --> 00:17:00,515

Okay.

275

00:17:07,980 --> 00:17:11,250

Yeah, maybe down here there's

a little stick or something.

276

00:17:16,190 --> 00:17:16,490

Okay.

277

00:17:17,119 --> 00:17:21,920

When I'm at home, I often get so wrapped

up in this painting thing that, uh, I

278

00:17:21,920 --> 00:17:25,550

can have people literally screaming for

me and stuff, and I won't hear them.

279

00:17:26,210 --> 00:17:28,190

I just get really taken by it.

280

00:17:32,955 --> 00:17:37,545

I would never even consider Quintin doing

it because it's, it's just so fun to do

281

00:17:38,145 --> 00:17:40,995

a lot of people try it once or twice.

282

00:17:40,995 --> 00:17:43,695

And they say I really had fun at

that, but then for some reason

283

00:17:43,695 --> 00:17:45,165

they just never do it again.

284

00:17:45,165 --> 00:17:48,945

You know, I always wondered if that

was just one type of personality that,

285

00:17:50,785 --> 00:17:54,885

that did that or what cause, um, I

have a lot of people come into my

286

00:17:54,885 --> 00:17:58,725

classes and uh, they tell me I only

paint when I come to class with you

287

00:17:58,725 --> 00:18:00,255

and that's fine and everything, but.

288

00:18:00,635 --> 00:18:04,205

Um, to me, if you don't practice

it something, I don't know.

289

00:18:04,205 --> 00:18:05,725

You just seem to, I forget.

290

00:18:08,185 --> 00:18:10,135

Well, remember, always keep on practicing.

291

00:18:10,315 --> 00:18:12,265

I know you hear that from

every teacher in school.

292

00:18:15,475 --> 00:18:17,755

Sometimes when people are out of

school for a long time, though,

293

00:18:17,755 --> 00:18:19,075

they forget these little things.

294

00:18:23,645 --> 00:18:24,185

Here we go.

295

00:18:24,185 --> 00:18:26,375

Just some little highlights

with the one inch brush.

296

00:18:26,855 --> 00:18:29,345

Same way as you highlighted

bushes over on the right side.

297

00:18:33,034 --> 00:18:35,014

Think about each individual shape.

298

00:18:37,875 --> 00:18:41,565

Just like little bushes, like

you're going around the clock.

299

00:18:43,335 --> 00:18:48,105

I think of it like 12 o'clock one,

two, three, and back on the other side,

300

00:18:48,885 --> 00:18:50,235

then reload and start another one,

301

00:18:53,355 --> 00:18:56,355

make one coming in front of

the next, adding planes, the

302

00:18:56,355 --> 00:18:57,345

distance to the painting.

303

00:19:00,515 --> 00:19:00,635

Yeah.

304

00:19:00,635 --> 00:19:01,715

And if you want to change it.

305

00:19:02,159 --> 00:19:04,710

You know, a little bit,

add some different colors.

306

00:19:04,710 --> 00:19:05,909

You can use a little yellow ochre.

307

00:19:13,460 --> 00:19:14,510

any color you want.

308

00:19:15,409 --> 00:19:17,090

Just like Bob says, it's your world.

309

00:19:23,360 --> 00:19:24,860

even a little bright red with one.

310

00:19:25,250 --> 00:19:25,490

Thanks.

311

00:19:25,490 --> 00:19:26,270

A nice Bush.

312

00:19:27,870 --> 00:19:28,530

Here we go.

313

00:19:32,860 --> 00:19:35,360

And we might possibly have a

little bit of that reflected

314

00:19:35,360 --> 00:19:37,340

down the water here and there.

315

00:19:38,570 --> 00:19:40,880

You know, they call them mirror

reflections, but they don't have to be

316

00:19:40,880 --> 00:19:45,800

anything super, super exact, even in the

foreground, you know, the water disturbs,

317

00:19:46,340 --> 00:19:50,840

uh, reflections and makes them look

different than they do up above the water.

318

00:19:50,840 --> 00:19:53,420

So you can get away with a

lot of things and reflections.

319

00:19:58,975 --> 00:20:03,605

And then you want to pull down, go

across that reflection very gently.

320

00:20:09,695 --> 00:20:10,235

Okay.

321

00:20:11,165 --> 00:20:15,005

Then once again, a little strip of land

with Vandyke Brown, like we did before,

322

00:20:18,425 --> 00:20:19,355

pull it across.

323

00:20:21,675 --> 00:20:23,625

Notice I'm coming in

from the opposite angle.

324

00:20:23,625 --> 00:20:25,905

This time I'm coming from left to.

325

00:20:25,905 --> 00:20:26,294

Right.

326

00:20:27,915 --> 00:20:32,774

So just remember, always pull your

land towards the center and then

327

00:20:32,774 --> 00:20:36,405

the dark CNN white for a highlight.

328

00:20:48,350 --> 00:20:51,919

and see how that land kind of cuts

off all those bushes right there.

329

00:20:52,250 --> 00:20:56,179

If you bring a few little bushy things

down onto that land, it makes it

330

00:20:56,179 --> 00:21:01,669

look like it just goes right up in

there and never stops little tricks.

331

00:21:01,669 --> 00:21:03,889

Like this will take you far.

332

00:21:13,120 --> 00:21:19,020

A little bit more of that liquid

white was blue and you can make

333

00:21:19,020 --> 00:21:20,370

a little water line under here.

334

00:21:23,959 --> 00:21:26,270

There's a kid over there that

dropped a big rock in the water.

335

00:21:26,270 --> 00:21:29,689

That's why there's water gushing

against the sides of these islands.

336

00:21:29,689 --> 00:21:30,050

I guess.

337

00:21:30,050 --> 00:21:33,139

You know, I make up stories

about all the paintings.

338

00:21:33,139 --> 00:21:33,530

I do.

339

00:21:34,760 --> 00:21:37,399

People come up to me and ask me

where someplace is I painted.

340

00:21:37,399 --> 00:21:38,030

I always just.

341

00:21:38,580 --> 00:21:40,890

Make up a big story, tell him

it was efficient trip dead.

342

00:21:40,890 --> 00:21:44,550

And I took an Alaska or that's

good for selling paintings.

343

00:21:44,970 --> 00:21:46,380

People like to hear these stories.

344

00:21:48,270 --> 00:21:49,950

And 99% of them are true.

345

00:21:50,340 --> 00:21:50,670

They hadn't.

346

00:21:50,680 --> 00:21:52,830

I did go on lots of fishing

trips when I was younger.

347

00:21:54,780 --> 00:21:55,740

He caught all the fish.

348

00:21:55,740 --> 00:22:02,420

I just watched maybe a few little

shorelines lines down here, a

349

00:22:02,420 --> 00:22:03,740

little bit more liquid white.

350

00:22:11,760 --> 00:22:17,420

Let's go ahead and put in

one nice big tree right here.

351

00:22:17,420 --> 00:22:18,080

Real quick.

352

00:22:18,200 --> 00:22:19,190

We can handle that.

353

00:22:22,560 --> 00:22:24,860

This is one of those

lightning fast Birch stories.

354

00:22:32,870 --> 00:22:35,840

And a little bit of white for

highlight, always looks good on those.

355

00:22:37,850 --> 00:22:40,370

Just very lightly caress

across that Brown.

356

00:22:40,969 --> 00:22:41,780

Super gentle.

357

00:22:47,780 --> 00:22:48,379

Here we go.

358

00:22:51,199 --> 00:22:52,340

Little trunk down here.

359

00:22:54,255 --> 00:22:56,325

This smashing and foliage

thing is my favorite.

360

00:22:57,435 --> 00:23:00,195

Cause you know, you just come

in and pound it right in there.

361

00:23:00,195 --> 00:23:05,145

No problem in class people find this

the easiest, then they have to come

362

00:23:05,145 --> 00:23:10,035

back and highlight and it's not quite

as easy, but sometimes something that's

363

00:23:10,035 --> 00:23:12,975

harder as fun, more of a challenge.

364

00:23:14,625 --> 00:23:18,585

Okay, then you can just highlight

these bushes down here in the same way.

365

00:23:19,845 --> 00:23:22,605

Maybe a few little that's

my fingernail brush there.

366

00:23:23,275 --> 00:23:24,405

See little sticks in there.

367

00:23:35,015 --> 00:23:41,975

do you find that you can really get

away with a lot different colors?

368

00:23:42,315 --> 00:23:43,425

Different shapes.

369

00:23:44,565 --> 00:23:47,445

You can take a mountain out of one

painting, put it in another Burke

370

00:23:47,445 --> 00:23:49,005

street cabin, whatever you want to do.

371

00:23:49,605 --> 00:23:50,175

It's up to you.

372

00:23:59,375 --> 00:24:00,965

We got to have a fireball right out here.

373

00:24:02,135 --> 00:24:03,045

Here we go here.

374

00:24:03,045 --> 00:24:05,015

You're right here to lead

that eye into the center.

375

00:24:06,425 --> 00:24:06,935

Okay.

376

00:24:06,975 --> 00:24:07,685

Maybe.

377

00:24:10,245 --> 00:24:16,395

Maybe just an old, dead branch hanging off

this Birch tree, extend the top a little

378

00:24:16,395 --> 00:24:22,305

and cut a little dead branches coming out

379

00:24:27,165 --> 00:24:27,345

here.

380

00:24:34,665 --> 00:24:35,264

Here we go.

381

00:24:35,585 --> 00:24:36,245

Looks good.

382

00:24:36,284 --> 00:24:36,905

Looks good.

383

00:24:37,235 --> 00:24:38,284

You got to tell yourself that.

384

00:24:38,284 --> 00:24:43,145

Tell yourself you're wonderful because

you are, you can do anything you want.

385

00:24:48,425 --> 00:24:48,784

Okay.

386

00:24:48,784 --> 00:24:50,195

That wrote about do it for that one.

387

00:24:50,585 --> 00:24:53,764

Uh, you can always add a few more

sticks or twigs, but I'd like to

388

00:24:53,764 --> 00:24:56,794

thank you for joining me, uh, on

the joy of painting this series.

389

00:24:56,825 --> 00:24:58,175

And thank dad for having me here.

390

00:24:58,770 --> 00:24:59,310

God bless

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S30E09 - Mountains of Grace

Bob Ross's

The Joy of Painting

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