All language subtitles for The Joy of Painting - 2x20 - _track3_[eng]

Hello, I'm Bob Ross and I'd like to
welcome you to the Joy of Painting.

This is a wet on wet painting
technique, and each week

I'll take you step by step through
a beautiful oil painting.

If you've been with us before,
I'm glad to see you again.

If this is your first time with us,

drag up your paints and your big
brush, come along and paint with us.

And let's go ahead and get started

and talk a little bit about what
we're going to do up here.

I've already covered
the canvas with a thin,

even coat of liquid white and this
make the canvas wet, makes it

slick, it allows us to blend colour
right here on the canvas.

And I'm going to have them
graphically run all the colours

across the screen that you need to
paint this project with me,

and they'll come across in the same
order that I have them

on the palette, starting with the
titanium white and working around.

While they're doing,
let's go on up here and get started.

I'm going to start with an
old two-inch brush today

and go right into a small
amount of alizarin crimson.

And just really tap the brush
into the colour, just tap it.

This assures a nice,
even distribution of paint

all the way through the bristles.

OK, let's go up here.

Let's go right in here.

And just make little crisscross
strokes, little Xs.

And put in a little tiny bit
of pink, just like so.

Using very little pressure.

Just apply it right on the canvas.

Don't want that to get too bright,

we don't want to set
this sky on fire.

We just want a little pinkish
glow in the sky.

OK.

Now then,
I'll take the same old dirty brush,

add a little more of the crimson
and a tiny, tiny bit of pthalo blue.

Proportionately, we want much,
much more crimson than blue.

And I'm just mixing this
right on the brush to make a nice

lavender colour,
nice purplish colour.

OK, let's go up here
and sort of test it.

Now, sort of test it up here.

If it's not the colour you want stop
and change it, you can fix it.

This is your world
and you can create

any type of illusion
that you want here.

You're the boss on this canvas.

You can do anything, anything.

OK, a little more paint.

Just sort of let that play around.

I'm going to add a little more blue
to that. Tiny bit more blue. There.

Today, I thought we'd do a nice
painting, it's very soft

and very quiet.

It'll make you happy.
It's a very easy little painting.

There we go. And down here
I'll just clean the brush off.

Just like so.

OK. Now then, let's clean our brush.

We clean our brushes
with odourless thinner.

And be sure it's odourless
or you'll be working by yourself!

Shake off the excess, and right down
here I have a box that

I shake the brush into and then...

HE CHUCKLES

This is where you take out
all your frustrations.

Maybe, the absolute most fun
of this whole technique.

OK, now let's take the clean brush
and go right back up here

and just blend this sky together.

Still using the little
crisscross strokes.

Still using them, back and forth.

Back and forth.

There we go.

OK. And you can blend this to any
degree of softness that you want.

You can blend it until you lose all
the little variations that you have.

And personally, I like to leave
some of those in there.

But when you're doing your painting,
you look at it

and you do it the way that
you want it.

OK, there we go, and that quickly,
we have a very effective little sky.

And we'll just use long strokes here
to take out any brush marks.

OK.

And that gives us
a happy little sky.

Now, then, let's take a little
bit of the pthalo blue

and the alizarin crimson,
we'll just mix it together.

Still, we have a little bit
more of the crimson than we do blue.

We're still working with
a nice lavender colour.

Pull it out very flat
and then cut across it

so there's a small roll of paint
right on the edge of the knife.

There we go.
OK, let's go right up here.

Maybe there's a happy
little mountain

that lives right along here.

And you're really pushing this paint
right into the fabric.

Really get firm with it.

You're not going to hurt
this canvas.

Shoot, they make tents out of this,
it's tough.

Really push it in.

Use a lot of pressure.
A lot of pressure.

The only thing you're worried about
is this nice outside shape here.

You could care less
what's happening down here.

OK.

And that gives us a basic little,
little mountain shape.

Now, then, let's go back
to our large brush

and grab that and pull it.

Just pull it. Now,
that's mixing with the liquid white

and automatically,
it gets lighter toward the base.

And if you can see the
entire mountain,

it should be lighter at the bottom
than it is at the top.

And as we've said on previous shows,

because at the bottom you have mist
and now we have pollution,

and these things have a tendency
to break-up and diffuse light

so it looks softer at the bottom.

Now, by just taking the knife here,

we can create the illusion
of highlights and shadows.

Just push very firmly.

You can take the least little
touch of titanium white.

We want these mountains to be
far, far away

so they don't have much detail.

Just barely, barely touch.

Smallest amount of
the titanium white.

And I'm rubbing it.

OK, let's put a little tiny bit
right there.

Then we can just rub that right in.

See, it creates the illusion of all
kinds of things happening

without you actually doing
a whole bunch.

And it keeps that mountain looking
like it's far, far away.

Far away.

Far away.

There we go.

Maybe a little touch right in there.

Wherever.

You just make
a decision in your mountain

and put it wherever you want it.

And then we can tap that
and blend it a little bit.

And that mountain should look
just like it's just laying there

and just floating in the sky.

Very soft, very quiet.

OK, let's have some fun.

Maybe there's a little footie hill
that lives right down here.

So we'll just keep using
this old two-inch brush.

I'm going to take a little blue,
a little bit of crimson

and I'll just mix them
right on the brush.

We'll add a tiny little
bit of white in there too.

So we've got alizarin crimson,
a little bit of pthalo blue

and a touch of white.

OK, and I'm just tapping the brush,
just tapping it.

Let's go right back up here.

Maybe there's a little foothill
that lives right here.

And all you need is just
the corner of the brush.

And just begin laying in
some basic shapes.

Just sort of let your brush
touch and pull downward.

Touch, pull downward,
straight down.

Straight down, and maybe
they come right on down here.

Wherever you want them.

A little more paint.

There we go.

There they are, just right on down.

Now, then, I want to create
the illusion of mist

right under the bottom
of this foothill.

So I'll take a clean two-inch brush
and we'll come right here

and tap firmly.

Maybe you can hear that,
tapping very firmly.

And that'll create
the illusion of mist

at the base of these foothills.

Just like so.

OK.

And then very lightly, lift upward.

Just lift straight up, straight up.

And we'll blend it out.

OK. Maybe... Tell you what, maybe
there's another layer of foothills

in there, so let's go
right into the same colour.

Alizarin crimson, pthalo blue,
but I want it a little bit darker.

As things get closer
to you in a landscape

they should get a little
darker in value.

OK, let's go right back here.

Let's start right here
and maybe we'll just bring this

one down and let it drop.

There it is, there it is.

Just right on down.

Right on down. See, it's a
little bit darker so it stands out.

Might even add the smallest,
smallest touch of sap green to that.

The smallest touch.

I just want to begin giving
the indication of a little green

far, far back here.

OK. Then we'll take our clean,
dry brush and once again,

I want to create that illusion
of mist down here at the bottom

so we tap very firmly, very firmly.

And we're using just the...

There, you can see,
just the top corner of the brush,

strike the canvas.

Just like so.

Just like that.

And that easy...

..you have mist right at the bottom
of that foothill.

And then lift upward.

There.

Hm!

Ain't that something?

OK, we'll wash the old brush here.

I like to wash the brush,
that's the most fun part.

Guess everybody in the
studio's covered!

OK.

Now, then, let's begin putting
some little things

that are happening way,
way back in the distance.

I'm going to go back into this
lavender colour I made

and add a tiny, tiny bit of sap
green, just the smallest amount.

And all I'm doing is tapping,
just still tapping.

OK, let's go right up here.

And maybe back in here,
way back in here,

there's just a little soft hill
lives way back here.

Very gentle.

There.

And we're going to put layer after
layer after layer

of little hills back here.

Now, if you live in the Carolinas
or someplace that have the

beautiful, beautiful hills,
this is a super way to make them.

You can make all those beautiful
mountains that you have

in that area the same way,
just leave this big one out.

There we go.

Little bit more colour on the brush.

Maybe, I tell you what,

maybe there's one that
comes from this direction.

I'm going to add a little touch
more blue in there.

There we are, that's better.

Now, we want them to get a little
darker as they get closer.

So all we're doing is just
tapping very gently.

OK.

OK. A little more of the
green into that colour.

And you have to make almighty
decisions here.

Maybe this one comes right down,
there it is, look at that.

See, now each time you do this,
you're creating planes in here.

And each plane that you add
into your painting

makes your painting look deeper,
shows much more depth in it.

And, of course, we're not interested
in that almighty dollar

but if you should be, that's what
sells the painting.

There we go.

There we go.

See, just layer after layer
after layer.

I'll tell you what, let's have some
fun. Let's have some fun.

Let me grab a fan brush here.

And we'll mix up...

..same old colour,
pthalo blue, alizarin crimson...

..and I'm going to add a
little bit of white to that.

Little bit of white. There we go.

A little bit more of the crimson.

Good.

OK, let me wipe the knife off.

Now, we're going to load this
fan brush full of paint.

Just really load it full.

Wiggle it in there.

OK, let's go right up here.

Maybe back here lives a happy little
tree, a little evergreen tree.

Now, just sort of touch it
to give you centre

and then give it a
little upward push.

Sometimes we make
evergreens by pushing down,

sometime by pushing upward.

Today, I thought we'd do it upward.

Look at all the little things
happening there.

Look at that. Look at that.
Cute little tree.

And we don't want him
to get lonely,

so let's give him
a happy little friend.

His little friend lives right there.

Trees need friends too.
We all, all need a friend.

There he is.

OK.

And you know what happens if there's
two trees, sooner or later them

little son of a guns
are going to get together

and here's a little tree.

And he lives right here beside them.

Just like so.

OK.

And your painting,
you put as many trees as you want.

I'm going to put three right there.

Maybe, I tell you what,
let's have a little tree,

a little tiny tree,
lives right there.

And we make him the same way
only smaller,

just make him a little smaller.

And go out and study trees,
make friends with trees.

You know, I talk about going
out into the woods

and sitting around and
talking to trees,

there's nothing wrong with that.

That's the way you learn what makes
a tree look like a tree.

Spend some time with nature.

Let it become your good friend.

And I'll put some more trees
right out in there.

See there, you can
put trees wherever you want them.

Tell you what let's do,
let's take this brush,

and see right here at the base,
I'm going to take this brush

and just begin picking up
some of that colour and tapping.

All I'm doing is tapping.

Now, I'm going to begin adding
a little colour to that,

a little yellow ochre.

A little cad yellow.

Just very lightly,
and we'll begin creating

little highlights on all
these little hills.

Just let them all blend together.

Just a nice soft little
meadow back here.

I'll add a little Indian yellow
and here and there,

a little touch of bright red.

Tiniest little amount of the red,
though.

There we go, just to highlight
a little. Don't get carried away.

All right.

OK.

And I'm just sort of mixing
all these yellows

and reds together on the brush.

There we are. Just let them go.

There. See how that begins to soften

and it creates the illusion
of depth.

And that's what we're looking for.

All right.

Tell you what, let's go
back into this same old colour -

the blue, the crimson and the white.

Get the old brush all loaded up
here, lot of paint.

Let's go back up here.

Maybe in here,
some more little trees,

just give it a little push upward.

And once again, in your painting,

you put as many or as few
trees as you want.

But the more you make,
the more practice you get.

And if there's a secret
to painting, it's practice.

It's practice.

The more you paint,
the easier it becomes.

It's like anything else, when you
first started tying your shoe,

probably didn't work first time,
you had to practise it a few times.

And know you can do it
without even looking.

And it's the same way with painting,

pretty soon you can do it
and it's almost...

Oh, it just happens.

You don't have to worry about how
to load this brush, you can spend

your thinking time
worrying about the composition

and begin looking at things
in the painting.

That's when it's fun.

That's when you truly experience
the joy of painting.

Maybe, tell you what,

maybe right here this old tree,
he didn't make it.

In nature you have trees that,
maybe, maybe somebody stepped on him

when he was little
and they got a little, eurgh,

a little hurt and they died.

But you have dead trees
in nature too.

So, put some of those in your
painting, it makes them look real.

OK, we'll just drop in another
little tree or two.

OK. Then, once again,
we'll just grab the bottom of that.

And let it go.

Tap it right on out.

Then we can take our liner brush,

and I'll use a little bit
of the liquid black on it

and just put a little indication
here and there of a few old,

few old limbs that are still hanging
off these dead trees back here.

And that easy, we got her.

OK.

Now, then, take some more blue
and some more crimson.

There we go, all right,
let's come right down here

and here comes another hill.

And all we're doing is initially
laying in the base colour,

the dark colour.

Just like so.

And don't cover it completely,

leave some of these areas
that are light in here.

These will create all kinds
of beautiful effects

when you're finished.

And, as you know,
if you've painted with us before

we don't make mistakes,

we have happy accidents.

So, learn to work with these things,

anything that happens
learn to use it.

Learn to use it.
Let it be your friend.

Sometimes you have a tendency
to fight painting.

And just,
just work with whatever happens.

Whatever happens.

There we go.

See, we begin, we begin creating
the curvature of the land here

and the lay of the land. Just sort
of let your mind wander and enjoy.

Painting should make you happy.

Should really make you happy.

There we go.

You know, the one thing, if painting
teaches you nothing else,

it teaches you to look at nature.

I get letters every day from
fantastic people that say,

"Bob, I've looked at the tree in my
front yard ever since it was a

"little baby and I've never really
seen it until I started painting."

And that's true.

That's so true.
Painting, it teaches you to see.

To appreciate.

Pretty soon you're
riding down the street and you say,

"Oh, my gosh, look at that tree,
that tree's made of sap green with

"a little blue in it, or, that cloud
could be done with a fan brush."

Of course, you have to be careful,
you'll wreck the car

when you're doing things like that!

OK, I'm going to add the
least little touch of white

and a little bit of red.

Right on the brush,
just tapping it in.

Just tapping. OK.

Maybe there's a little light that
plays right through here.

I want this to be a little bright
area right in there.

All I'm going to do is sort of tap
that on and maybe, right there.

Right there. Right there.

We'll just take and go right
into a little bit of yellow,

add a little green to that.

I'm using all the yellows here,
a little touch of the red.

TOUCH of the red, it's very strong.

OK, let's go back up here.

Now then, we can begin just
tapping on some highlights here.

See, there?

Look at that, look at that.

And begin, once again, begin
thinking about the lay of the land.

Just sort of let it flow.

Because on this piece of canvas,
you can create anything,

anything.

There we go.

See now, if you want to create
little hills, it should be brighter

on top than it is down here
and that gives the illusion

of a little hill, like a light
striking up here and let it

get darker, darker, darker as
it works down.

Just let it go.

Hm.

You know, I've painted thousands
and thousands of paintings

and I still get excited
when I see it work.

It's so fantastic. There we go.

Look at all the little hills
and the little ridges.

And you can do it, you can do it.

There we go.

See that little bright area, it just
shows up a little sun striking

right through there.

It'll be pretty when it's done.

A little touch right there.

Mm, OK. Let's really have some fun.

I'm going to go right into the
midnight black and I'm going to add

a little bit of Van Dyke brown,
just mix it right on the brush.

A lot of paint. Lot of paint.

OK, let's go up here.

Maybe there's some,
some big trees that live in here.

And I think one lives right there.

And all I'm going to do is just tap,

just tap, just come right down.

Like so. Just tap it in.

And I have several fan brushes going
here so I don't have to wash them.

Take a little bit of the white
right on this brush and watch here.

We're going to come right down
this edge, right down the edge.

And we'll put some highlight
right on that tree.

And that easy, that easy you
have a nice strong tree trunk.

That was fun! Let's do another one.

Let's do another one.

Same colour,
a little brown and black.

And you have to make a decision,

where the trees live
in your painting.

I know, right there.
There he comes.

And all these trees aren't perfectly
straight like telephone poles.

Let them, let them have
a little character.

Trees are like people, each one
has its own individual personality.

Oh, I feel there ought to be one
right there,

right across the mountain.

Every tree's different.

Once again, spend some time with
nature. Go out and talk to a tree.

Don't matter if people think
you're crazy.

Us painters, you know, they think
we're a little weird anyway

so it's all right.

That's all right.

Tell you what, maybe, OK,
right here,

we'll have a smaller tree that lives

right here on this little hill.
We'll push him back.

Like that. OK,
let's go to the other side here.

We don't want this side to have
all the trees so we'll put...

There's one, right there.
Doop-doop-doop.

Just drop him on.

This is just black with brown.

A big one right there.

Big old tree.

A little more of the brown.

Big old tree.
He comes right down like that.

See there?
Look how easy they are to make.

Now we'll take our ever fan brush
that has the white on it

and very quickly, you can
just go right along here...

..and just drop on a
little bit of highlight.

Remember which side
the light's coming from.

And if you're right-handed,

it's normally easier to have the
light coming from the right.

If you're left-handed, it will
vary from person to person.

OK. Let's go right along here.

And just drop on some
little things like so.

Just like so.

OK.

Let's take a liner brush
and I'm going to put a little bit

of the liquid black
out here on my palette.

Take a liner brush, and I'll add
a little tiny bit of thinner to

it so it's very thin, turn that
brush, bring it to a nice point.

Let's go right here.

Now then, here and there just
drop on a few happy little limbs.

Little arms on the trees.

Old trees got some arms.

See? Just wherever you
think they should live.

And old pine trees always have
old broken ones all over.

Look at that. Look at that.

This is just liquid black with
a little bit of thinner in it.

And you can put as many
or as few as you want.

Few back in here, we don't want
this old tree to be left out.

There we go.

OK, let's go over here.
Put a little bit right there.

Right there.

This is a very nice painting
if it's your first painting project.

It works very well.
If you've painted with me before,

it's a painting that will
give you a lot of fun.

There. It gives us
a few indications of some limbs.

Now, then, let's take the old fan
brush and I'm going to use some

of the black still, and we'll drop
a few little leaves on these trees.

OK, let's go right up here.

Now, we touch
and give it a little upward push,

make little smiley faces.

Just sort of make a decision where
you think they live. Drop them in.

Drop them in.

Maybe, look here, there's
a few on this old tree.

Just like that.

Let's put a few on this little tree.

Leave some of the old trunk
showing. Some on this one.

Mm, all kinds of things happening.

And just let them go.

Just let them go.

I'll give this tree some.

There.

See it? All kinds of leaves here.

And let some of the sky show
through.

I'm going to go right into a little
bit of the sap green

with a touch of yellow on it,

and come back and very gently
highlight some of these.

And that easy,
you have a beautiful old tree.

And I think with that, we just about
have a finished painting.

So, I think
we'll call that one done.

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

God bless,
and we'll see you next time.