Bob Ross's

The Joy of Painting

S31E01 - Reflections of Calm

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Hello, I'm Bob Ross.

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And I'd like to welcome you to series 30.

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One of the joy of painting.

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If this is your first time with us, allow

me to extend a personal invitation for you

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to drag out your pates and your brushes

and paint along with the sea chill.

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And if you've been with us before, please

allow me to thank you for inviting us

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back for another series of painting shows.

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Tell you what?

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Let's start right off today 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

get done up here today.

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I'm using an 18 by 24 inch canvas

it's pre stretched and double primed.

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And then I've just covered

the entire canvas with a very

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thin coat of liquid white.

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This is a wet on wet painting

techniques or the liquid white is

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there only to make the canvas wet.

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It allows us to actually blend

color right on the canvas rather

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than working ourselves to death.

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So let's do that.

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Tell you what, we'll start off day

with a little two inch brush early.

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I will take a little touch of that.

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They look blue.

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They look, balloons are

beautiful, beautiful blue colors.

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Just have a little into the bristles.

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We don't need a lot.

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All right, let's go right up in here.

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Now we'll start just making little

exes, just little crisscross strokes

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that easy, that easy, and we'll

work all the way across the canvas.

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And we start at the top

and work down that way.

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The paint is continually mixing with

the liquid white that's already on

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the canvas and automatically your

scale will get lighter and lighter

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as you work down toward the horizon.

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And then the landscape, that's

exactly what we're looking for there.

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Let the canvas work for you.

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Allow the colors and the paint, everything

to work together, to make it easy.

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This is a, this is a painting

technique that you can do.

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There's no big secrets here.

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People who have never painted do

this every day and it works for them.

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All right.

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I think I'll have some water

in this painting today.

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I love water.

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It's easy to paint it.

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We'll just take, we use that same old.

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They look blue just to add a

little more onto the brush.

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Now, still water is always level.

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And I think today let's have still

water, so full from the outside in

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like, so it's all there is to it.

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We'll go to the other side,

do the same identical thing.

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But I suggest you pull from the

outside and if you start here and

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go across it, lose a big line.

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That's very hard to work out,

pull from the outside again.

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And it leaves a little area in here.

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That's sort of light.

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If everything works just right, it

looked like a sheen of, of lights just

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streaking right across your water.

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Yeah, it's sneaky, but it works great.

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There we go.

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Now then I want a dark

in the corners on this.

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I'm going to take a little pressure

and blue pressure and blue is much,

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much stronger than Tayloe blue.

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So beautiful blue though.

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Let's take a little of that and

right up in the corners, I'm

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just going to add a small amount

of depression, blue like that.

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And when the painting is completely done,

these dark corners will help lead the

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eye toward the center of the painting.

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There that's really all there is to it.

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It would put a little in the

water to, you know, when it left

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out, just down at the bottom.

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And let it work up there.

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She's we're in business already

stopped today with we just

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do a little mountain scene.

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It's very pretty, she's very easy to do.

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All right.

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I see.

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Even though we're blending across that,

that little lighter, you're still.

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Rick remains in there.

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Okay.

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We just blend that color too.

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It's nice and smooth.

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And we're in business.

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Yeah.

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It comes the most fun part

of the whole technique.

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And that's washing the brush.

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You've painted with us before,

you know, this is, this is

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where I really have a good time.

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It's cleaning this whole brush.

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We wash our brush with odorless

paint thinner, shake it off

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and just beat the devil letter

had really is the fun part of

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this whole technique today.

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Let's take, we'll use a little bit of

thing, a little blue, some alizarin

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Crimson, a little bit of black.

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I want to make up a

little mountain in here.

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And I want to make a, a dark

lavender looking color, very dark,

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very, very dark, maybe a little

more Crimson, proportionately,

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much, much more Crimson than blue.

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K I mean wiped the Ole knife.

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We just wiped the knife on a paper towel.

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And that's most important

how you load the knife.

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Take a cut across the paint and

get a little roll that lives right

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out on the edge of the knife.

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Okay.

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Let's go up in here.

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Tell you what let's put a little

white where that, and I'll make

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a distant mountain, first little

mountain that lives far away.

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Okay.

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So I've had a little bite and maybe

yeah, right in here, just decide

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where you think this little mountain

lives in your world and drop it in.

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Painting is a very individual thing.

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We all see nature through different eyes

and that's the way you should paint it.

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There.

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All we're looking for is a nice top page.

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We could care less.

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What's happening down below or brushed

is good and dry and we'll grab it.

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Because the liquid whites on the

canvas, you can literally move color.

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See there.

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If you were working on a dry canvas

right now, you shouldn't be an agony

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city, but because it's wet, it will

move and your brushstrokes will

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create the illusion of highlights and

shadows right there in the mountains.

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That's about all I need.

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And mountains going to be

far away, very distant.

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And we'd go back to the solid dark color.

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And come right up in here.

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Let's, let's go right up in here.

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Once you see dark ideas,

don't be afraid of it.

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Cause it's dark.

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We're going, gonna put a few little

highlights on it, but you decided where

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all the little protrusions on your

mountain lift a little bit bumps maybe.

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Yeah.

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How about one right

there, but it's that easy?

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And there is no right or wrong here.

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The only rule that we have here is

it painting should make you happy.

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You should enjoy it.

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And if it does that, then it's good.

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Good.

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All right.

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I get letters from youngsters.

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Some of them in their nineties, they tell

me they never believed they could paint.

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And they've tried this and it's for four.

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That's what makes this all worthwhile?

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Just to hear stories of success from

all over the country and you can do it.

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You can do it.

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There we go.

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Now, once again, I'm going to

pull this one of the rules.

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If you're painting mountains,

always remember if you can see the

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entire mountain, it's always more

distinct on the top than it is on

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the bottom because we have missed.

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And now we have wonderful pollution.

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It sort of lays around the

bottom of the mountain and it

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breaks up and diffuses the light.

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So it looks softer.

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There sometimes you want

let's get crazy today.

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Sometimes, sometimes, sometimes

I want to get that color going.

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It's fun to take and reflect a

mountain right into the water.

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Now we're just looking for a

basic little reflection here.

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We're not too worried about

it being exact in our word.

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We can do it close enough.

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Like it.

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No, sometimes, sometimes you may find

when we first started, it's easier

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to take the canvas off your easel and

turn it upside down and just basically

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repaint the mountains works for you.

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That's okay.

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Any way that it works now,

I'm going to take, and just

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like we did pull that color.

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Just want to pull it.

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The hair, once again, the liquid

white allows you to, to move color

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on here that easy, that easy.

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All right.

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See that gives us a basic reflection.

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There may not be exact, but it's

close enough for what we're doing.

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All right, let me go wash the brush.

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Well, that's the old brush

shake off the excess thinner.

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I hit the bucket.

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There.

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There you go.

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Just beat the devil.

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All right.

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I usually run the brush across a little

paper towel just to make sure it's as

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dry as I can, as I can possibly get it.

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You don't want to go up and touch

the canvas with a grip brush there.

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Keep this, keep your canvas

and your paint stick.

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Confirm as possible.

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One of our golden rules is a thin paint.

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We'll stick to a thick paste.

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So you want to keep this

as thick as possible.

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I'm gonna take a little white, a little

black, make just a touch of gray,

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something like so little roll of paint.

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Have we'll always load the

knife at literal a pain.

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I don't want it very distinct.

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Thanks.

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Do they just want the indications

little things happening?

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No pressure.

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Absolutely.

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No pressure.

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Just let it float right across there.

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She just want to give some

indications, but not a lot of detail.

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Don't worry about it.

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Just a little.

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Sometimes we put a lot of

indications, sometimes a few,

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and it's really, truly up to you.

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You decide what's in your world.

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There maybe was a little bump right

there and you can take a little

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disk, give it a little pull, but I

don't want it to be real distinct.

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Just sort of a quiet little place there.

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Fair, but that is no

pressure on the knife.

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I know I say that over

and over in the shows.

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But it's probably the single biggest

mistake people make when they first

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start is applying too much pressure

on the knife, then it looks just like

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you, you were icing a cake and that's

all right, but it really looks better

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if the paint sort of breaks and by

break, it just means it has holes in it.

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And that's done by just a gentle pressure.

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Very very gentle pressure.

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All right.

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Something about like that.

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And we can sort of just rub it a

little bit, blended out once again.

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I don't want a lot of detail

in this one, clean, dry brush,

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and I'm going to tap the base.

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Following the angles here,

always follow those angles and

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just blend it a little bit.

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Just blended blended, bring you together.

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Like, so it's all there is to it.

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All right now, then tell you

what, we'll just take a little

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brushwork and pretty good.

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We'll just take that same mountain

color, same old mountain colored,

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sort of a lavender we'll tap a little

bit right into that two inch brush.

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Don't be afraid of this

brush because it's large.

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It'll do wonderful things.

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Now then let's decide.

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Yeah, there we go.

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Maybe right in here.

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There's a little, little

Foothill lives right here.

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Just a little fuddy Hill, right at

the base of the mountain, Tim, the

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basic shape that you want it to be,

maybe something about like that.

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It doesn't matter.

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It's up to you there.

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See you there now.

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Very gently.

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Grab it and lift up tiny

little strokes though.

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Short little strokes.

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And do it in layers.

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It'll, it'll get the impression of

distant trees that live far away.

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They live right at the

base of this old mountain.

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What have you, they would have a little

touch to that color and we can go

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right in here and get indication of a

little reflection of that, that easy.

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Now that let me get a clean brush.

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I have several of each brush here.

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I want to create the illusion

of a reflection on this

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that we dropped in here.

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Normally we pulled down.

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This time, pull up and a beating the

brush just to remove excess color

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because you're going to pick up a

little color and that will remove it.

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Let's see there all there is to it now.

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Very lightly.

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00:13:21,390 --> 00:13:22,110

So across.

254

00:13:23,864 --> 00:13:27,224

And that will give the

indication an instant reflection.

255

00:13:27,405 --> 00:13:28,795

There it is.

256

00:13:29,535 --> 00:13:30,375

All right.

257

00:13:32,265 --> 00:13:37,234

Let's have some fun, we'll take, we'll

just use that same mountain color.

258

00:13:37,444 --> 00:13:40,954

So we had some, some blue and

some black and some trims.

259

00:13:40,954 --> 00:13:44,224

I'll put some Brown in

it and some SAP green.

260

00:13:46,170 --> 00:13:50,700

Basically all your dark

colors, subset green.

261

00:13:51,000 --> 00:13:57,900

All right, let me clean the old knife now

then let's grab us a little fan brush.

262

00:13:58,890 --> 00:14:01,830

There's one number six, fan

brush, take a little color.

263

00:14:03,240 --> 00:14:05,070

Just put a little bit of

color right on the brush.

264

00:14:05,190 --> 00:14:06,000

That's all there is to it.

265

00:14:06,360 --> 00:14:06,600

Okay.

266

00:14:07,620 --> 00:14:08,100

And maybe.

267

00:14:09,015 --> 00:14:13,185

Let's see if that shows up, I have to make

it a little lighter to get it to show.

268

00:14:13,185 --> 00:14:17,325

So we'll add a little white,

just a little touch your line.

269

00:14:18,375 --> 00:14:18,645

Yeah.

270

00:14:18,675 --> 00:14:19,485

That's a little better.

271

00:14:20,385 --> 00:14:22,815

How that I'm just going to take

and grab that and lift upward.

272

00:14:24,165 --> 00:14:27,855

I want to look like little trees,

little closer to us, but living

273

00:14:27,945 --> 00:14:31,275

very far away, very far away.

274

00:14:31,335 --> 00:14:31,965

Just touch it.

275

00:14:33,855 --> 00:14:34,335

Are you doing this?

276

00:14:34,335 --> 00:14:36,585

Putting a little line of paint

and then you lifted up bird.

277

00:14:37,829 --> 00:14:43,829

Could not be simpler there,

there it's all there is to it.

278

00:14:45,270 --> 00:14:48,540

We'll take the knife a little bit of

dark Sienna and Vandyke Brown mixed

279

00:14:48,540 --> 00:14:50,189

together, maybe a little white with it.

280

00:14:51,780 --> 00:14:52,260

There you go.

281

00:14:53,010 --> 00:14:53,849

That's a nice color.

282

00:14:53,849 --> 00:14:56,849

Like you just sort of play

around with color too.

283

00:14:56,849 --> 00:15:01,290

You get what you want or a little roll

of paint and let's go right up in here.

284

00:15:02,729 --> 00:15:05,250

And with that, we'll

just put the indication.

285

00:15:05,985 --> 00:15:07,574

Maybe like here right there.

286

00:15:07,814 --> 00:15:09,675

See, I'm sorry.

287

00:15:09,675 --> 00:15:10,334

I get excited.

288

00:15:10,755 --> 00:15:14,895

I've painted like this for 20

years and I still get excited

289

00:15:14,895 --> 00:15:17,444

when I see it work so wonderful.

290

00:15:18,915 --> 00:15:22,665

I was traditional painter for many years

and I've now called at my agony years.

291

00:15:23,775 --> 00:15:30,735

Cause I agonized over painting a

little bit of liquid white and we'll

292

00:15:30,735 --> 00:15:32,564

just cut in a little water line.

293

00:15:32,834 --> 00:15:34,395

Just a little tiny waterline.

294

00:15:36,405 --> 00:15:41,805

This is sort of a light area that

separates the two darks there.

295

00:15:42,745 --> 00:15:45,795

If you put a little too much liquid

white on there and you think it's a

296

00:15:45,795 --> 00:15:50,025

little too strong, just rub it, it

will just be absorbed into the color.

297

00:15:50,805 --> 00:15:51,495

It'll go away.

298

00:15:52,005 --> 00:15:54,165

No problem at all there.

299

00:15:56,055 --> 00:15:56,595

All right.

300

00:15:56,625 --> 00:15:58,365

That gives us a pretty

nice little background.

301

00:15:59,265 --> 00:15:59,805

Let's see.

302

00:16:00,930 --> 00:16:02,580

We need to figure out what

we're going to put in here.

303

00:16:02,610 --> 00:16:08,010

So let's take, let's take crazy time.

304

00:16:08,040 --> 00:16:14,730

We'll take some more that we've got some

pressure and blue, green prims and Brown.

305

00:16:16,110 --> 00:16:17,700

What makes a pretty

good palette paint here?

306

00:16:17,940 --> 00:16:18,900

Let's play a little.

307

00:16:19,770 --> 00:16:20,340

All right.

308

00:16:22,980 --> 00:16:24,330

Here's a two inch brush.

309

00:16:25,050 --> 00:16:30,090

We'll take him load a lot of color

into the brush and we have to sort

310

00:16:30,090 --> 00:16:31,650

of make some decisions in our world.

311

00:16:31,950 --> 00:16:33,660

Let's just block in some areas.

312

00:16:34,850 --> 00:16:38,270

Now, then maybe in our world here,

we're going to have a big tree.

313

00:16:39,620 --> 00:16:40,400

It lives right here.

314

00:16:40,790 --> 00:16:42,530

We're not looking for

a lot of detail here.

315

00:16:42,560 --> 00:16:44,960

All we're doing is blocking

in some basic shape.

316

00:16:46,190 --> 00:16:47,930

This is sort of your

brave retest after you.

317

00:16:48,224 --> 00:16:50,385

Work so hard to put in

all those gorgeous things.

318

00:16:50,385 --> 00:16:51,194

And then you come up here.

319

00:16:52,305 --> 00:16:55,964

Some crazy fuzzy haired guy says,

put out a big tree right over the top

320

00:16:55,964 --> 00:17:00,165

of it, but that's all right there.

321

00:17:02,265 --> 00:17:03,795

We'll decide where that goes later.

322

00:17:04,905 --> 00:17:06,915

Maybe we'll grab a little fan brush.

323

00:17:07,065 --> 00:17:08,055

We'll have some more fun here.

324

00:17:09,464 --> 00:17:11,865

Take a fan brush loaded

full of that dark color.

325

00:17:12,045 --> 00:17:14,865

Maybe there's some little, these

little peninsula right here.

326

00:17:15,525 --> 00:17:15,825

Yeah.

327

00:17:16,935 --> 00:17:20,625

When you paint, you begin to

see things, let them happen.

328

00:17:20,954 --> 00:17:22,065

Just let them happen.

329

00:17:23,565 --> 00:17:24,615

Let them happen.

330

00:17:25,035 --> 00:17:25,875

Don't worry about them.

331

00:17:26,474 --> 00:17:27,585

Learn to compose.

332

00:17:27,615 --> 00:17:28,365

As you paint.

333

00:17:28,395 --> 00:17:30,645

I learned to take

advantage of what happens.

334

00:17:31,335 --> 00:17:37,305

We call those happy accidents and

they can be your best friend there.

335

00:17:38,535 --> 00:17:38,925

Maybe.

336

00:17:39,495 --> 00:17:39,765

Yeah.

337

00:17:39,885 --> 00:17:43,425

If it comes right down,

down right in there,

338

00:17:49,095 --> 00:17:50,655

we don't even know where

it goes over there.

339

00:17:51,015 --> 00:17:52,365

Don't think we care at this point.

340

00:17:54,185 --> 00:17:54,705

Right.

341

00:17:57,120 --> 00:17:59,970

Just want to create a little

list down here at the base.

342

00:18:00,280 --> 00:18:01,890

We can do that with a clean brush.

343

00:18:03,620 --> 00:18:05,490

So then lift slightly upward.

344

00:18:07,230 --> 00:18:08,730

Sorta brings everything together.

345

00:18:10,649 --> 00:18:14,909

There of course, right underneath

that we'd need a reflection.

346

00:18:16,350 --> 00:18:17,600

We would need the reflection.

347

00:18:17,610 --> 00:18:19,850

So just pull it straight

down, straight desk.

348

00:18:19,870 --> 00:18:20,510

Most important.

349

00:18:20,510 --> 00:18:24,830

Know that it go straight down reflection

should be as dark as the object.

350

00:18:24,830 --> 00:18:25,159

That's correct.

351

00:18:25,639 --> 00:18:26,240

Reflection.

352

00:18:28,040 --> 00:18:28,429

There.

353

00:18:28,909 --> 00:18:31,610

I can go across, give us a

little instant reflection.

354

00:18:36,860 --> 00:18:39,350

Maybe tell you what, maybe there's

a tree that lives right here.

355

00:18:39,470 --> 00:18:40,430

We'll put some highlight on him.

356

00:18:40,430 --> 00:18:43,790

So she'll this one lives a little

closer to us, so we can make out

357

00:18:43,790 --> 00:18:45,470

a little more detailed on him.

358

00:18:46,850 --> 00:18:52,250

There just, uh, he's got a friend happy

little tree lives right here and watches.

359

00:18:52,250 --> 00:18:53,060

Everything happened.

360

00:18:54,740 --> 00:18:55,370

All right.

361

00:18:57,135 --> 00:19:01,965

Now I would go right into a little

touch of the cadmium yellow, yellow

362

00:19:01,965 --> 00:19:06,135

ochre, sooner or later, I'll hit all

the yellows and a little bit of the red.

363

00:19:06,645 --> 00:19:11,895

I want to make a nice green color because

you had blue and black on your brush.

364

00:19:12,375 --> 00:19:13,905

When you go in here, you'll get green.

365

00:19:14,255 --> 00:19:16,625

Certainly I think we can

come right along in here.

366

00:19:17,915 --> 00:19:19,895

New places, a few little

highlights on this tree.

367

00:19:19,955 --> 00:19:22,445

That'll that'll snatch it

right up in that background.

368

00:19:24,210 --> 00:19:24,990

A little more color.

369

00:19:26,140 --> 00:19:30,810

We'll put a few highlights on this

little rascal, maybe in our world here.

370

00:19:31,860 --> 00:19:34,490

Maybe there's a few little grassy

things that we beginning to see.

371

00:19:35,070 --> 00:19:36,270

Don't want a lot of detail yet.

372

00:19:37,800 --> 00:19:39,990

Just a few little things far away.

373

00:19:41,655 --> 00:19:45,585

Those parkers, there they go.

374

00:19:46,095 --> 00:19:47,325

We don't know where they go over here.

375

00:19:49,115 --> 00:19:53,825

You know, where they go take a little

bit of our Brown and height we used.

376

00:19:55,465 --> 00:19:58,175

We can put the indication

of the little landmass here.

377

00:19:59,345 --> 00:19:59,735

See there.

378

00:20:01,409 --> 00:20:03,629

That's simple little bit of land.

379

00:20:04,620 --> 00:20:07,530

Doesn't touch the liquid white,

just to give indication of

380

00:20:07,530 --> 00:20:08,700

a water line right in here.

381

00:20:09,690 --> 00:20:14,490

Don't want a lot of color,

just a little hair in there.

382

00:20:14,639 --> 00:20:15,659

See how that works.

383

00:20:16,320 --> 00:20:16,680

It's neat.

384

00:20:16,680 --> 00:20:17,040

Huh?

385

00:20:18,465 --> 00:20:23,595

Now, then we got to decide where this

big tree lives here he comes here.

386

00:20:23,595 --> 00:20:25,514

He comes, he comes around on down.

387

00:20:26,264 --> 00:20:27,435

This is just dark color.

388

00:20:28,695 --> 00:20:30,075

Just a lot of dark color.

389

00:20:32,235 --> 00:20:34,274

Maybe, maybe it comes

all the way down here.

390

00:20:34,274 --> 00:20:34,875

I don't know.

391

00:20:36,044 --> 00:20:39,645

That's the beauty of painting like,

yes, you really don't have to, to

392

00:20:39,645 --> 00:20:41,355

know exactly where everything's at.

393

00:20:42,075 --> 00:20:46,455

It just works a little paint,

thinner liner brush that Brown color.

394

00:20:47,145 --> 00:20:49,905

Here and there and there, and here,

we'll just put the indication of a

395

00:20:51,405 --> 00:20:53,625

little limb little trunk lives in there.

396

00:20:55,145 --> 00:20:56,705

Don't have to worry about it very much.

397

00:20:58,115 --> 00:21:02,825

Let's take, can me use

some of that yellow greens?

398

00:21:03,785 --> 00:21:05,375

Mix them on the two inch brush though.

399

00:21:06,935 --> 00:21:08,545

Let's go right in here and that's.

400

00:21:09,014 --> 00:21:13,455

Just begin picking out some

highlights there, just the corner of

401

00:21:13,455 --> 00:21:17,535

the brush, or are you using there?

402

00:21:17,535 --> 00:21:17,805

You are.

403

00:21:18,125 --> 00:21:21,725

Now, if you've got a very thick,

dry paint up on the canvas,

404

00:21:22,145 --> 00:21:23,435

you can put this right on here.

405

00:21:24,065 --> 00:21:26,105

It'll go right on the top

of that mixing together.

406

00:21:27,785 --> 00:21:31,925

But the pain on your brush has to

be a little bit thinner than what

407

00:21:31,925 --> 00:21:34,115

you have on the canvas already.

408

00:21:34,655 --> 00:21:36,635

It'll always pull toward

the thickest area.

409

00:21:38,040 --> 00:21:41,930

There we are, the yellows are

made just a little bit thinner,

410

00:21:42,140 --> 00:21:47,000

so that works automatically

there, maybe on Dan, like yet.

411

00:21:47,000 --> 00:21:48,350

And I'm gonna change

the flavor a little bit.

412

00:21:48,350 --> 00:21:52,940

Add a little bright red little,

let me have the ochre maybe.

413

00:21:53,180 --> 00:21:55,250

Yeah, you're right, right there.

414

00:21:55,940 --> 00:22:01,010

There's another little tree Bush, whatever

you want to call him wherever, but we're

415

00:22:01,010 --> 00:22:02,900

still just using the corner of the brush.

416

00:22:03,630 --> 00:22:04,860

It's really all there is to it.

417

00:22:06,420 --> 00:22:09,810

And I'm going to dip the brush into

a little touch of paint thinner.

418

00:22:10,050 --> 00:22:11,490

I want to make it just a little thinner.

419

00:22:12,390 --> 00:22:17,550

I'm going to go over several

layers of paint here, there, but

420

00:22:17,550 --> 00:22:21,270

if you had paint thinner at the

smallest, smallest amount possible.

421

00:22:22,575 --> 00:22:26,205

You don't need much

don't mean much to you.

422

00:22:26,205 --> 00:22:26,745

What let's do.

423

00:22:26,845 --> 00:22:31,265

Let's have some fun, clean off

a little spot at work here.

424

00:22:31,755 --> 00:22:32,375

You I'm a pallet.

425

00:22:32,375 --> 00:22:33,845

This big, I still run out of room.

426

00:22:35,465 --> 00:22:41,015

We're going to take a black

Brown and mix them together.

427

00:22:42,545 --> 00:22:49,025

Now, then over here, I'm gonna

take a little bit of white and

428

00:22:49,025 --> 00:22:50,495

black to make a gray color.

429

00:22:52,035 --> 00:22:54,195

There something about like, yeah.

430

00:22:55,095 --> 00:22:55,455

Okay.

431

00:22:57,115 --> 00:22:57,605

I'll take it.

432

00:22:57,605 --> 00:22:59,285

Add paint thinner to this.

433

00:22:59,675 --> 00:23:00,935

I want to make this very thin.

434

00:23:02,254 --> 00:23:05,285

As we mentioned earlier, a thin

paint will stick to a thick paint.

435

00:23:06,045 --> 00:23:11,745

So now I want to show you an easy

way of making a fantastic effect,

436

00:23:12,555 --> 00:23:13,995

but we need that then these colors.

437

00:23:15,885 --> 00:23:19,935

But if we hadn't started with a very

thick, dry paint, this wouldn't work.

438

00:23:20,295 --> 00:23:21,705

So be sure you okay.

439

00:23:22,000 --> 00:23:24,400

I hate to keep talking about

the pain, but it is important.

440

00:23:25,000 --> 00:23:27,850

I get so many letters from people

that said they're having a problems.

441

00:23:27,850 --> 00:23:31,540

And when I begin to talk to

them, the problem usually

442

00:23:31,600 --> 00:23:34,690

evolves from starting with paint.

443

00:23:34,690 --> 00:23:35,440

It's very thin.

444

00:23:36,310 --> 00:23:40,360

Let's start with thick paint and

then each layer gets thinner today.

445

00:23:40,750 --> 00:23:44,200

Let's use little oval brush.

446

00:23:45,520 --> 00:23:49,090

I'll go through the dark

color through the dark color.

447

00:23:50,100 --> 00:23:54,780

Both sides now, one side, one side

only I will put in the light color.

448

00:23:54,810 --> 00:23:56,129

So you've got dark light.

449

00:23:56,790 --> 00:23:57,600

Now watch, watch.

450

00:23:58,500 --> 00:24:04,470

You can make the indication of

little stones all in one stroke.

451

00:24:04,530 --> 00:24:08,310

Like it that easy, that easy.

452

00:24:09,210 --> 00:24:11,070

Now pull a little reflection down.

453

00:24:12,435 --> 00:24:18,435

Like, so come across, go back to her

a little brush that has the grassy

454

00:24:18,585 --> 00:24:24,075

color on it, but in a few little

highlights here and there just a

455

00:24:24,075 --> 00:24:30,885

few little duties now back to this,

and maybe there's a little, yep.

456

00:24:30,915 --> 00:24:32,115

Little stone lives right there.

457

00:24:33,570 --> 00:24:39,410

And wherever you want them, you just drop

them in several little stones, put some

458

00:24:39,410 --> 00:24:42,710

little grassy things red around here.

459

00:24:43,940 --> 00:24:45,620

Like I dare say it brings it all together.

460

00:24:45,750 --> 00:24:46,910

Little yellow curtain there too.

461

00:24:48,010 --> 00:24:49,040

Just brings it all together.

462

00:24:51,140 --> 00:24:51,860

Makes it fit.

463

00:24:53,780 --> 00:24:54,350

Here we are.

464

00:24:56,240 --> 00:24:56,540

Yeah.

465

00:24:56,540 --> 00:24:57,920

This little rascal out here.

466

00:24:58,280 --> 00:24:59,960

Pull down a little, touch your reflection.

467

00:25:00,689 --> 00:25:08,010

To go across, take our small knife and

we'll put just the indication of a little

468

00:25:08,010 --> 00:25:13,620

water line here and there sort of bringing

it all together just to bring it together.

469

00:25:14,489 --> 00:25:14,850

Shoot.

470

00:25:14,850 --> 00:25:16,320

I think we got to finish painting here.

471

00:25:17,070 --> 00:25:20,639

I really hope you've enjoyed this

and hope you'll join us for the

472

00:25:20,639 --> 00:25:22,169

rest of this television series.

473

00:25:22,169 --> 00:25:24,959

And from all of us here, I'd

like to wish you happy painting.

474

00:25:25,735 --> 00:25:26,805

God bless my friend.

End .srt file.

Bob Ross' The Joy of Painting

Thursday, December 31, 2020

S31E01 - Reflections of Calm

Bob Ross's

The Joy of Painting

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