All language subtitles for The Joy of Painting - 2x06 - _track3_[eng]

Welcome back.
I'm glad to see you today.

And today, I think we'll do
a beautiful little winter scene

that has a lot of warm colours
in it,

so it's not so cold
that it's unpleasant.

And I'll have them run all
the colours across the screen

that you need to do this painting,
starting with the titanium white

and going around, and they'll come
across your screen

in the same order that I have them
on my palette,

so while they're doing that,

let's get started and do
an almighty painting together.

I'm going to take off today
with the large brush,

start with a little bit
of phthalo blue,

and just work it into the bristles,

and to that, let's add a little bit
of Van Dyke brown,

that'll dull it down a little
so it's not quite so bright.

And work it into the bristles
so you have a nice, even

distribution of colour
all the way through the bristles.

OK, let's go up to the canvas, and
we'll start right here at the top,

making our little crisscross
strokes, little Xs.

And just let this play around
and have fun.

There we go.

And very quickly,
we'll drop a happy little sky in.

There. Now, while I have this blue
on the brush

- this is blue and Van Dyke brown -

let's just lay a little bit
right down here,

just very quickly throw it in.

And this will end up
being shadows in the snow,

so we're not really concerned
about where it goes

or what happens right now.

OK, we'll wash the brush,

and we wash our brushes
with odourless paint thinner.

Take off the excess,

and then beat the Devil
out of it.

OK, I'm going to use
a fan brush today,

and I'll take a little bit
of the titanium white

on the fan brush,
and we load a lot of paint

into the bristles,
really work it in there.

OK, let's go up here and build a
happy little cloud in the sky.

We use just the corner
of the fan brush,

and make little tiny circles.

Little tiny circles.
There we go.

Just let them fall
right off that fan brush.

And keep your brush moving, don't
stay in one place and keep working.

If you do, you're going to end
up with a big cotton ball

up in the sky,
and we don't want that.

We want beautiful little
fluffy, free clouds.

OK, maybe right there,
wherever you want 'em,

wherever you want 'em,
drop 'em in.

OK, maybe there's one
that lives there.

You have to make these decisions.

Where do all these little clouds
live? Where do they play?

And in your world,
you put 'em where you want 'em.

OK, you need areas that are thick,
areas that are thin,

areas that have no paint at all.

OK, let's take the large brush,
and we're going to go up here,

and just very, very gently
blend the bottom of the cloud.

Don't want to touch the top at all
yet, just the bottoms.

There we go.

OK, just blend this one over here.

And probably one of the
biggest mistakes made

when people do clouds
is they overwork them.

Don't overwork them.
We'll fluff them, and grab them,

fluff it up.

You're going to pull all kinds
of little things up in the sky

when you do this -
don't worry about 'em.

Don't worry.

Because when we blend all this,
they'll go away. OK?

Now, very lightly,
very lightly, very lightly,

I'm just going to go across.
This is three hairs and some air.

Just let it sort of graze it.

And that easy,
we have a beautiful little sky

with some clouds floating around
in it, and we're ready to go.

All right.

Now, today, I'm going to put
some little trees that are way,

way back in the distance.

So I'm going to take
some phthalo blue,

and alizarin crimson.

Phthalo blue and alizarin crimson.

Now, the blue's many, many times
stronger than the crimson.

And to that, I'm going to add
a small amount of white.

And we're making a purplish colour,
lavender colour.

There, OK?

Now, I'm going to take
and put some paint thinner on that,

and make it quite thin.

Quite thin.

Let's go up to the canvas now.

And up here, and we'll just put in
some basic little shapes,

way back here.
We're not looking for detail -

these are background trees that are
going to end up way far, far away.

This is a very quiet
little painting, very soft.

OK, a little more paint thinner.

Just here and there,
just let these sort of fall in

wherever you want them.
This is your world.

Drop 'em in.

And maybe here and there, you can
see just a little bit more detail.

We don't want a great deal of detail
yet, still too far away.

Just here and there.

This paint's quite thin.

Quite thin, need this thin paint to
stick on top of the thicker paint

at the back.

There.

And that'll give us a basic idea
of some little background trees.

And with a large brush,
I'm going to...

I want to create the illusion
of mist in here,

so I'm going to take the large brush
and tap the bottom of this.

Just really raise Cain.

This is where you take out
all your hostilities.

There.

Want to soften the bottom of this
until it's just like mist.

And here and there, I'm going to let
a few of them come right above

the tops, so it looks like little
soft trees, far, far away.

There we go,
just really raise Cain.

And then gently,
gently lift upward.

It'll create the illusion
of mist back there.

There we go.

And anything that we get down
in here,

we'll use that for shadows in the
snow, so don't worry about it.

OK, maybe we'll put another layer
or two here,

and I'm going to add to
that same colour

a little bit of Van Dyke brown,
a little burnt umber.

And we'll just begin working
a little bit closer here and there.

A little brown, a little umber.

And we can put a little bit
more depth in this.

Each one of these planes
creates more depth in your painting.

That's what makes it look good.

I'm still keeping
this paint quite thin.

Just tapping the canvas.

There, see how easy that is?

Just tap it.

And it'll make the impression of all
kinds of little things happening.

OK, a little bit more
of the paint thinner,

a little more umber.

Maybe there's a few things in here
that are a little bit more distinct.

Don't want too much yet.

We'll lose that feeling of distance
if we get too much detail

way back here in the background.

And once again with the large brush,

I want to create mist
at the bottom of this layer.

And the more planes or the more
layers that you put in a painting,

the deeper it looks.

So we're just creating depth
in the background right now.

There we go.

And once again, very lightly,

this is just barely
caressing the canvas.

Lift up.

Lift up. There.

And you can make as many layers
of this as you want.

Each layer will make it deeper,
look farther away,

and create more depth
in your painting.

OK, so now let's go and begin
building some beautiful little

bushes that are protruding
up through the snow here,

and I'm going to go right into
a little bit of the burnt umber,

a little white, and I'm just mixing
these colours on the brush.

Just tap 'em.

Just tap 'em.

OK, let's go up here,
maybe we'll begin putting in

just some little things
happening way back here.

And I'm just using the corner
of the brush,

and just barely touching the canvas.

This is a very warm brown. It's
almost like a burnt sienna colour.

Very warm brown.

Very soft.

And I've added a little bit of white
there just to soften it down.

Now I'm going to get a small amount
of yellow ochre on the brush,

and just begin tapping the top.

Just very soft and very quiet.

Now these are some of the warm
colours I was telling you about,

so it keeps this winter scene
from looking so cold.

A lot of times in the winter,
snow covers the ground

and you still have bushes and stuff

that create all these
beautiful brown tones.

There we go.

Very soft and quiet.

OK, maybe, maybe,
maybe we take our liner brush,

and I'll go right into a little bit
of the Van Dyke brown,

just like so, and turn that brush.

That brings it to
a nice sharp point.

OK, let's go up to the canvas.

Maybe we can see a few little
tree trunks back in here.

And all we do is touch the canvas,
because this paint's very thin.

It'll slide right off your brush.

There. Thin paint will stick to
a thick paint.

We'll put a few little indications
of some trees back in here.

Don't want too much detail yet,
just a few little tree indications.

There we go. Here and there.

Here and there. Maybe there's
one that lives over here. Wherever.

Wherever. You have to make these
almighty decisions

and drop these things in.

Let 'em happen, just let 'em
flow right out of your mind.

OK.

Then we'll take another fan brush
and begin deciding

where I'm going to have
some snow in here.

I'm using several fan brushes so
I don't have to go back and forth

and wash them so often.

Load a lot of the titanium white,

then I'll put the smallest, smallest
amount of permanent red in there.

Or alizarin crimson.
Alizarin crimson, I'm sorry.

Little bit of alizarin crimson,

just to give it a little
pinkish hue to break that up.

And then let's go right up
to the canvas.

Now, angles, strokes
are very, very important.

Very important.

Follow the lay of the land.

There, just barely,
barely touching the canvas.

Follow the lay of the land.

That's most, most important.

And you do these paintings
in stages,

completing the area that's
furthest away and working forward.

Just work forward,
and add a tiny bit of blue

in there to create some shadows.

There we go. See how soft
and pretty that is?

And it's easy.

Very, very easy.
Let the canvas work.

Now, back to my burnt umber.

And I can let some of these
little bushes and stuff

run right down on the snow.

That easy.

Just let 'em go.

It's your world. Let it happen.

I want to add a small amount of
cadmium yellow.

And just put it right on the top,

right on the top
where the light's striking.

Don't want too much.

Just a little. Just let this one
maybe come right on out.

And any time you add one
of these little hills here,

go back with your fan brush
and clean up the edges.

See, you can just clean it right up.

And if a little of that brown
comes into your snow, that's fine.

It really helps.

Really gives it depth.

OK, now maybe in here,
there's a little hill.

Comes right from here.

Now, you want that a little bit
whiter, a little bit more

of the white colour up here, so it
stands out from that one back there.

OK, and we can lay some snow
right in there.

See all these little colours, and
the shadows that we laid in there

are beginning to show through,

cos you're using very little paint
and just stroking the canvas.

OK. Just let all these
little things happen.

Now, maybe, maybe, maybe...

..maybe there's another little group
of bushes that live right here.

You have to make these decisions
and drop 'em in.

Wherever you want 'em.

Just drop 'em in.

Maybe it comes right down there.

And we go back into a little bit of
the yellow ochre.

Yellow ochre, just beautiful,
beautiful warm colour.

And once again, all I'm doing
is just barely tapping.

I want the colour to be
on the top of each little hill.

Just barely tapping.

Sort of a little different way
to use the brush

than we've used it before.
But it's a lot of fun.

And any way you can use a piece
of equipment

to get a desired effect,
that's really all that counts.

Any way you can use it.

And we can clean up
these little edges,

and create the lay of the land.

See, I'm pulling a little bit
of that brown down into the snow.

It helps carry through the shadows.

All right. There.

And you can just make as many
layers as you want in here,

or you can take them out.

Just let your imagination go.

Let it go.

OK.

Don't want to lose this
little white line here.

If you lose that,
we're going to lose our separation.

We don't want to lose that.

Maybe here and there some of these
run up like that.

OK.

Now, let's play with some trees.

Trees are always fun.

Always fun.

And I'm going to make a very,
very dark colour for some trees

in the background back here,
and we'll make that by using

phthalo green and alizarin crimson,
in about equal parts,

maybe a little bit more crimson
than the phthalo green.

And when you mix these
two colours together,

it makes a beautiful,
beautiful black.

Very dark. Very, very dark.

Strong colour,
but very transparent,

because both phthalo green and
alizarin crimson are transparent.

OK, now let me clean my knife,
and let's take another fan brush,

and we'll pull that through there

and get a lot of colour
on the brush.

There, just so you can see,
just really pull it through.

Wiggle it, wiggle it, that helps.

Loads of paint into the bristles,
then shorten it.

OK, let's go to the canvas.
Maybe there lives right here a...

There it is - an old tree.
He lives right there,

right there. I knew he was there.

There. You knew he was there
too, didn't you?

OK, and he comes right down here,
and that's where his foot's at.

And maybe this old tree's
got a friend.

You know, I say it all the time -
trees get lonely too.

They need friends.

We all need a friend.

And maybe there are some leaves
on this.

And we just sort of work back
and forth here with the fan brush.

Just give the impression
of some beautiful leaves.

There, you see how easy
those are to drop on?

Just need indications.

Now, we'll give this other one
here...

There.

There we go.

And this is once again phthalo green
and alizarin crimson.

Beautiful, beautiful colour.

See, just that easy,
gives us the impression

that there are some beautiful
little limbs out there.

Maybe right here
lives another little tree.

He's not as big,
we'll make him farther back.

And he needs a few little leaves
on him, too.

There we go. Needs a little foot
to stand on.

Don't want him to fall over
and hurt himself.

There we go.

OK, now we need to...
Down here on the bottom,

we need to clean that up a little
to bring it all together.

So I just take the large brush,
and just gently tap.

Bring that all together.

And then with our fan brush,
a little bit of snow in there.

And that easy -
we've got it fixed.

Now, while I've got this black
colour on my brush here,

maybe, maybe, maybe there's a big
tree that lives right here

on the edge, and all we can see is
a few of his limbs hanging over.

Here he comes.

And when you're doing this,
leave some holes in your tree,

so some sky shows through.

It makes it look deeper.

Don't cover the entire canvas.

There.

Makes it look like there's a tree...

The trunk's really off the canvas,
so we don't see it.

All we see is some limbs
hanging over here.

OK, now take a little
bit of yellow ochre,

and just barely tap here and there.

Same brush, same brush,
didn't clean it, nothing.

Just want a little tiny,
tiny bit of yellow ochre,

just to give it
a little character.

Not much, tiniest little bit.

There, and that's really enough.

And, and, I'm going back
to the liner brush

with and paint thinner
and a little brown on it,

and maybe there lives right here
another little tree.

There it goes.

Wherever, wherever.

And you can put as many of these
in your world as you want.

Let 'em happen.

Let 'em happen.

All we're doing here
is giving you ideas.

What you do with them...

Everybody sees nature differently.
Let it happen.

OK, let's put some...
Let's have some fun.

Let's have some fun.

I'm going to go right into
some Van Dyke brown,

get a lot of paint on my brush,
just Van Dyke brown.

And let's go right up here.

Maybe there's a tree
that's a little bit closer,

and we can see a little more.

Now, a lot of times on the edge
of evergreen trees,

there's all kinds of little things
that hang out the side,

little things,
whatever you call them,

but they're not smooth,
they're rough.

Evergreens, a lot of times,
are rough.

So by just tapping
with the fan brush,

we can create that illusion.

And then on the other side
of the tree, we'll take

a little white, a little brown,
and we'll come right down

and make the other side of the tree.

So you need a little light here.

This tree's a little closer, it's
going to have a little more detail.

I'll show you how to make those.

See there, isn't that super?

I told you it was easy.

There, just let it
come right on down.

And, and, and maybe there's a
little of that colour in the snow.

We'll create a little shadow image
back here.

Just a little bit of shadow.

And with a nice clean fan brush,

we can very lightly, very lightly
just blend that right in.

There.

It makes it look like
a little shadow back here.

Maybe there's a little tiny bit of
snow goes up the side of the tree

that comes down.

There we go.
Just let these little things happen.

All right, now, let's put a few
little limbs on that tree,

and maybe they just
hang out like so.

Wherever.

Let 'em go.
Here and there.

And you can do this
with a liner brush,

which comes to a much sharper point,
if you want to.

Now, you know that old tree
is so much fun.

I tell you what,
let's go right over in here,

and we'll make a great big
almighty tree,

a big, strong tree,
give you some practice doing that.

And he lives right there.

Just make a decision, drop him in,
wherever you want him, let him go.

Using Van Dyke brown.

I want this edge to be
all rough and fuzzy.

There.

Just put a lot of dark in there,
just really drop it in.

Really socking that canvas.

OK, then I'll take that brush
that has my white and brown on it...

..and we'll come right down here
and do a light side for the tree.

A tree needs a light side
to make it look round.

Need a dark and a light side.

There we go.

And to sort of let that play around,
wherever you think light would hit.

Great big old tree.

This big tree has been here
for 100 years or so.

He has seen a lot happen.

Wise old tree.

And maybe we'll bring a little bit
of snow, comes right up here,

and blend that in.

Just set him right down
into the painting. That easy.

Bring some snow right up
around his little foots.

Big foots. That's big foots.

Big foots.

There.

And that easy, that easy, you set
him right down into the painting.

OK, now then, let's take
a little bit more of the brown,

and maybe there's a big limb
that hangs right off the canvas,

and maybe it comes down
and maybe it just bends...

Oh, there it goes,
comes right back across the tree.

Big, big limb.

This is a large tree,
he needs a large limb.

And a little arm on the limb,
wherever.

And it helps give the tree
a little personality.

There's always dead limbs hanging on
the bottom of evergreen trees.

Don't avoid them - they're
what gives the tree character.

Don't avoid 'em.

Let them little sun-of-a-guns come
out and sparkle in the sunshine.

OK, now as I say, we could take
the liner brush if we wanted to,

and add a little more detail
to some of these.

And all you do is
thin the paint down,

and you can bring out all kinds of
little limbs.

And you can just let these go and go
and go wherever you want them.

OK, I'm going to take a small amount
of almost straight burnt umber,

and we'll put a little weed
here and there.

And I'm just using the corner of
the fan brush, touch, and lift up.

Touch, lift up.

Just to put some little leaves,

little sticks and twigs
and stuff there.

Just to break up
some of this white snow area,

just here and there.

Maybe, I'll tell you what, maybe,
maybe there's a little stone

lives right out here.

There, see there?
Put the little stone in.

And let me wash the fan brush here
real quick.

And we'll take a little bit
of the titanium white.

Now, you've got to pull it
over the stone,

cos there's snow on top of
the stone.

So you just touch,
come right over the stone.

See there? See?
It's easy, and it's fun.

Just like so.

That's all there is to it.

OK, I think we're about to the point

where we have a painting
that we can sign.

So I take a little bit
of paint thinner,

and I'm going to work it...

I've got a little permanent red
on the palette here,

I always sign with permanent red.

Turn that brush, turn it so it comes
to beautiful sharp point.

Look there.

Let's go up here
and sign this rascal.

And this is the part that's fun,

because then you have a completed
painting, makes you feel all good

inside, and I hope you've enjoyed
this one. It's a very soft painting.

Think it'll bring you many hours
of relaxation and fun.

And from all of us here, we'd like
to wish you happy painting.

God bless. See you next week.