The Best of the Joy of Painting with Bob Ross | Grandpa's Barn | Season 33 | Episode 3329
- Hi, welcome back.
I'm glad you could join me today, it's a fantastic day here and I hope it is where you're at.
So, I'm glad you're here and I hope you do a little painting with us, and enjoy it as much as we do.
Let's start out today and have them run all the colors across the screen, that you need to paint along with me.
As usual, they'll come across in the same order as I have them on the palette starting with the white and working around.
And I have my standard old canvas up here and I've already covered it with a nice, thin, even coat of the liquid white so it's ready to go, so let's go.
Let's just do a happy little painting today it's such a beautiful day.
We'll start with a little touch of the phthalo blue.
We just use the old two inch brush tap a little color into it.
Just pull a little color out and tap the brush into it.
That makes sure you've got a nice even distribution of color all the way through the bristles.
Now then... Let's go right up in here and we'll just use the little... just happy little strokes just little exes, little criss-cross strokes.
Then let's just drop in some beautiful little sky shapes here.
Just sort of let it happen.
Let it happen.
There.
See how easy it is to put in a sky?
Doesn't take but just a second when you're using a big old brush.
There we go.
Today, let's have a little water in the painting.
I'm a absolute fanatic for water.
Love it.
There.
While we have this color on the brush let's add just a tiny bit more same color, and decide... well, we know waters going to be on the bottom down here but other than that we don't care right now.
We'll just put a little bit of phthalo blue right in there.
Right in there, then from here.
Notice that we're pulling from the outside-in.
That leaves that little light area here.
If everything works out just right that'll look just like a little sheen of light coming across your painting.
Makes it sort of pretty.
Now then, very, very lightly we'll just go over the entire canvas.
That smooths everything out, but that little light area, it stays in there.
OK, same thing in the sky here, we just sort of blend it together a little bit.
But I've left some holes in the sky some white areas.
Thought today we'd put in... put in some happy little clounds.
OK, I'll wash this old brush that's the fun part of this.
This is where you take out all of your frustrations and hostilities.
Give it a good shake and... (banging) (chuckles) Just beat the devil out of it.
Now when you're doing that at home you might want to invest a couple bucks in a brush beater rack because you'll absolutely change the appearance of your whole house in about one beat and then you're going to be upset with me.
Let's take some black oh, and just a little bit of blue... black and blue.
Black and blue.
Put a little bit of white in there so we can see what we've got.
I'm looking for a nice bluish-grey color.
Maybe a little more of the white.
There, that's nice, nice.
We're going to use that to put a... put a few shadows in our cloud today.
I'm just going to use the old round brush today.
You can use the old round brush to to all kinds of things.
Just pull it through there and get a little color on it.
Maybe, just a corner of the brush we'll just put the indication, why it looks like a big old storm there.
There.
Just scrub in the indication of some shadows.
Decide where your big clouds are going to live.
We'll just throw in a few shadows then we're gonna to come back and we're gonna put some highlight we'll turn these big, violent looking clouds into happy little clouds.
There we are.
Just little circular patterns.
When I'm working with clouds I always try to use circular patterns for everything I do.
I'll use a little down here, wherever.
I have a couple of these old round brushes.
We'll take another one and pull it right through titanium white.
Be right back, right back.
We'll get the least little touch of alizarin crimson and we'll put a little warmth into that.
OK, let's go back up here.
Now then, with the white let's put some highlights on these.
I'm just taking the corner of the brush and just snapping it, touching it, as I come around.
There.
Begin working on some basic cloud shapes.
Some basic cloud shapes.
You need... to work on the shapes.
Maybe this old cloud just floats right around up here.
Wherever you want it to go.
Wherever.
There.
Clouds are very, very free so you put them where you want them in your world.
Maybe there's another one right there.
Maybe, maybe it comes right on down through there.
It doesn't matter.
Doesn't matter.
There.
Over here... a big son-of-a-gun lives right out here.
He comes right up through there and... this is a good exercise to teach you how to make some beautiful clouds.
Very easy.
OK, now... let me find a good, dry, two inch brush and I'm going to just sort of mix this up, blend it together, where these two colors come together.
Very lightly.
I'll continue to beat the brush that removes excess paint from the bristles because you're going to pick up a little paint here.
Just blend it together.
Just blend.
Very lightly.
Very lightly.
You can bring all these together to make some of the most beautiful little effects.
There.
Even if you've never painted a cloud before, this one'll work for you.
(banging) Now, a lot of times people like to put all kinds of colors in here you know, as... according to where you live.
Sometimes there's beautiful, beautiful colors in the clouds.
I lived in Alaska for over a dozen years and we have skies there that are... if I painted them, you'd think I was nuts.
I've seen skies in Fairbanks that are brilliant red.
Looks like the whole sky is on fire.
And then at night of course you have the northern lights that dance and play.
There's just no limit to what you can do.
There we go.
Very lightly, because we're using a very firm dry paint here.
You can go over this you can blend it, and bring it all together.
All I'm doing is beating the brush, once again, to remove any paint that I've picked up.
See how you can fluff that?
You can make one son-of-a-gun of a sky, that easy.
There.
OK. (banging) All right.
Now then, let's have some fun.
Let me... there it is...
I'm gonna go right back to my round brush we'll use it for a little bit.
I'm going to take some alizarin crimson alizarin crimson, a little bit of phthalo blue.
We'll just mix them on the brush here, and pick up that little bit of white that's laying there.
Looking for sort of a bluish-lavender color.
Bluish-lavender color.
You can just mix them back and forth until you get them like you want them.
OK, load the brush up.
Maybe back here in the distance lives some little foothills.
All you gotta do is tap downward.
See, that's all there is to it.
Maybe a little foothill, we don't know where it goes, wherever you want it.
There.
Just some happy little things that live far off in the distance.
You don't see a lot of detail you're too far away... and, wherever.
You can put a whole row of them in in just a second.
Clean, dry, brush.
I want to create the illusion of mist down here at the base of these.
With the top corner of the brush, firmly, firmly get in there and just tap that son-on-of-a-gun.
Just really raise Cain.
There.
Then lightly, lift upward.
That easy, that easy, it'll create the illusion of mist.
OK, tell you what, let's go back and get the same old brush some crimson and some blue.
There we are.
Proportionately, I'm using much more crimson than blue.
OK, maybe...
There's some little grassy areas underneath here.
We'll just tap in some dark color.
We just tap in some dark so our light will show.
That's all we're doing.
There.
Maybe to about, there.
OK. Maybe I'll use a two inch brush.
You can continue to use the round brush but both of them that I have are dirty.
We'll put some highlights on there.
So I'm going to go right into the yellow and grab a little bit of that lavender-blue bluish-lavender color.
When you touch the yellow then you're going to get a beautiful, beautiful green.
Load some paint into this.
Push.
Give it a little... push like that.
OK, let's go up here.
Now then, maybe back in here there's some nice highlights on this.
I want this to be very soft, and very gentle.
Look like velvet laying back there.
Pick up a little yellow ochre, and a little Indian yellow, here and there.
Vary the colors a little bit.
Very soft, quiet little area.
This is one of them areas you'd like to go and just relax sort of take life easy.
There we are.
Now... let's come forward.
I'll take some black... some black, some Prussian blue, alizarin crimson.
I want a dark color here.
And we'll load that round bush up with a lot of color.
Maybe... yeah... right here... just some happy little bushes that live right here.
This dark area will help push that back.
By pushing it back, then that will reinforce our illusion of distance and depth in the painting.
You've painted with me before, you know I'm sort of a nut for... paintings that, that really look deep.
We can begin getting serious here.
Tell you what, maybe... yep, you're right.
Start getting a little dark sienna in there too.
Maybe... look at there, right out of that brush, grows a big tree right over my cloud.
That's all right.
If you learn how to make a cloud then your time is not wasted.
Anytime that you learn, you gain.
Back there... beautiful little tree.
All we're looking for here is some basic... basic tree shapes.
There we go... like so.
Just let them come right on over.
So look at your painting, and visualize, make no decisions... just let it go.
Yep.
We'll put another little tree, that lives right there.
In your painting, you put as many or as few trees, as you want.
You could do just about this entire painting using nothing but the round brush.
That son-of-a-gun will do unbelievable things.
I think you could do this entire painting using the round brush.
There we go.
Over on that side... maybe?
Sure, we've got a tree over here too.
Just like so.
OK maybe, here we go.
Right on up... you have to make big decisions though.
How tall is that tree?
Maybe he's lived right along there.
It's up to you.
Whatever you want.
Here, we're just blocking in the color, so it doesn't matter how we do it.
Now, then... we said we was going to have some water in here so let's start worrying about reflections.
This is wet, has the liquid right on it, so you can grab it and pull.
See there?
If you try to do this on a dry canvas, you're going to be in agony city.
But, because it's wet, you can move the paint.
Look at that, instant reflections, instant.
Reflections used to drive me crazy when I was a traditional painter and now it's so easy.
Let me find...
I'll use a liner brush.
I'm going to some van dyke brown get a lot of paint thinner, lot of paint thinner go right into that brown.
I want this to be very, very thin.
Let's put... let's put indication, of some tree trunks, here and there.
Wherever you think they should be.
Drop them in.
Drop them in.
There.
If you have trouble making your paint flow, add some paint thinner.
Because if your paint's good and thin then it'll flow right across there.
There's one.
Don't want this little tree left out.
Give him a little trunk in there.
Got to have something to hold up all this foliage.
And there's little sticks and twigs, and happy little things that grow back here, all the little birds need to have a place to set, so they need little sticks and stuff too.
There we go.
Now then...
I'll choose a... We'll use the one inch brush.
I'm gonna go right into some of this dark color just to get a little on the bristles.
This is the black and the blue.
Then I'm gonna drop down here to the green.
Actually it's yellow, but because of what I have on the brush when I touch it automatically, it's gonna to turn green.
If you have the least, least little about of blue in your brush, when you touch down here, you've got instant green.
OK. Now, let's put some foliage on this whole big tree up here.
There.
Look at that.
Just all kinds of happy little things.
As you've heard me say over and over, worry about shape and form, think about your tree, think about the limbs inside.
There.
See, you can create the illusion of all kinds of little things that are happening in here.
There.
Huh.
Isn't that super?
It's works so well.
See, there's no big secrets to painting, anybody can paint.
All you need is a few tools, a little instruction, and a vision in your mind.
Chances are you already have the vision and we're showing you how to take a few, very simple little tools, and create all kinds of beautiful things.
I'm going to a little Indian yellow, a little yellow ochre.
We'll sparkle this one up a little.
There.
The round brush works very well for this too.
There we go.
Little bit, here and there.
I'm gonna add a little sap green to my brush.
Down in... here, which is a little bit lower, and shadows are a little stronger.
Things down here'd be a little darker.
Ohhh, this is were all them creatures live.
There.
Little squirrels play down in here, and come down, dig hole, hide the acorns for winter.
I've still got a little squirrel I think I've mentioned in some of the other series I still have a... little squirrel that lives with me.
I've raised him ever since he was just a tiny baby.
There.
He's a son-of-a-gun too.
Why, he eats better than most people do.
Every day I fix him up this big gourmet meal.
He lives in a great big tall cage I built we call it... we call the cage Squirrel Hilton.
(chuckles) I sort of spoil my creatures, but that's ok, pretty soon here he's going to be turned loose and go back to nature and he'll say, boy he really had it made.
He lived like a king for a while.
OK.
I got off on some crazy subjects here.
I talk too much, so let's get back to work.
I'm going to take some black, some crimson, a little Prussian blue.
I'm just getting into a bigger brush.
Drop in some little colors here.
Maybe there's a... you know, maybe there's a a little penninsula that comes out there.
See, it just sort of happens.
We don't make mistakes, we just have happy accidents.
When things like this happen use them.
They should be your friend.
Don't fight them.
Don't fight them.
That's what I like so much about painting this way.
You don't have any... you don't have any tracings on here that you have to follow, any lines you have to stay inside of.
You're only limited here by your imagination.
And it, just like any other muscle, in your body, your imagination increases proportionately to the amount of practice you give it.
So practice.
See things in your mind.
Maybe over here... watch here, watch here... maybe there's one right there.
Practice.
Practice.
If there's any... any secret, to any style of painting, or in my mind, anything that you're ever good at, if there's any secret to it, it's just practice.
That's all.
I'm gonna take a little bit of van dyke brown.
Pull it out very flat, get tough with it, cut off a little roll of paint, it's right on the edge of the knife.
Then right up in here it lives... a little bit of land.
See?
Begin thinking about your little pond here.
If this is a little pond, or lake, or whatever you want it to be, take a little dark sienna and white, get that little roll of paint.
We'll put the least little indication, here and there of some highlights that live on there.
Don't want a great deal.
I'm going to my liquid white.
Let's put a little water line right here just a happy little light area.
Separates and breaks it all up, light against the dark, dark against light.
Continually.
That's what makes your painting stand out.
See, we bring a little bush down here, and here and there Touch a little touch of the... little touch of the touch.
Little bit of bright red.
There.
Just put a little sparkler here and there.
Hmmm.
Let's get the big brush, that one's too slow.
Tap a little more of the yellow into it.
Just give it a little push, see?
Push.
So there's paint right out on the tip.
Then all you have to do is just touch, and lay in all kinds of beautiful, soft little grassy areas.
There.
And sort of have these flowing downward, it'll give the impression that there's a recessed area here for your water to set in.
Water's like me it's lazy... water always looks to the easiest way to do things.
It won't climb... it won't climb a hill just to be pretty for you.
It's going to look for that low area, it's going to go in there and hide, just lay there and be quiet.
So... always remember that water, still water especially, is in a recessed area.
There we go.
Just varying back and forth between the yellow, yellow ochre, Indian yellow, a little bright red now and then just to sparkle it.
The more you tap this, the softer it'll get.
Look, it's so soft just like... just like green velvet laying out there.
Years ago, I used to do a lot of velveteen paintings... it's a nice way to paint... nice way to paint.
It was like watercolors, you only get one chance.
You make a mistake on velvet, you get a new piece of velvet, and you start over again.
On this, you scrape it off, do whatever you want to do.
Paint over it.
That's one of the reasons I like oils so much because... it has to be the most forgiving medium of all.
A little paint thinner.
I've got my liner brush.
Just want to put the indication that there's a... a little tree trunk in here.
We don't want this one left out, just standing up here by itself.
There, see there?
OK, now then... now then... there it is.
Take a little bit of that yellow, get a little touch of the bright red right there, just tap a little color into it.
Should go right up in here.
Let's put the indication of some nice foliage out on this little tree.
Don't want to forget him.
There we are.
Huh.
Nice little things are happening out here.
Very nice... there.
And, it really pays if you leave a little dark area, between the last bit of bright foliage, and the bottom.
It crates that illusion of shadow underneath.
Maybe... maybe there's a nice bush that lives right here.
Put in some basic little color, then we'll take a brighter color, and sparkling... it's like a little bit of yellow, make him stand right out from the ones in the background.
There he comes... there he comes.
Back to the old big brush.
Hmm... Let's see about... making that color a little bit brighter, it stands out.
Looks like there's light zinging through there.
You can go into a little bit of titanium white for example, look at there, look right here see?
It gives you the impression there's light zipping through there, but don't go too wild with this.
It'll lose it's effectiveness if you put too much on there.
There, a little touch, right in there.
Now then... back to my van dyke brown.
In here, let's put an indication of a little bit of land down in here.
Wherever.
Just sort of scrub it in.
Maybe over here... Look there, see that?
Now then, back to our highlight color, that was dark sienna, touch of white, and just let it graze... just barely touching the high spots.
Gentle touch, to caress it.
That's all there is to it.
Like that.
Now then, liquid white... we can go back in here and just cut-in an indication... little water line.
Just that little light area in between, really helps bring it out... like so.
A little bit over here, don't want this side left out.
Take your knife, scrape up through the paint, here and there put the indication of some sticks and twigs that live in your bushes, there they are.
That also helps create the illusion of depth and distance in your painting.
OK.
Think we have one that's about ready for a signature.
So I take some red, liner brush, and my paint down with paint thinner.
I'll sign this one right over here in the corner.
I really hope you've enjoyed this painting.
It'll certainly give you a lot of experience, let you use the tools, and I think you'll enjoy it.
So, as you can see, we worked with several different planes, also I showed you how that round brush would work.
Once again, you could paint this entire painting using only the round brush.
So I think we'll call this one finished, and from all of us here I'd like to wish you happy painting and God bless.
(soft jazz music)
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