All language subtitles for The Joy of Painting - 2x22 - _track3_[eng]

Welcome back.
I'm glad you could join me today.

You're going to do a fantastic
little painting with me.

You got your palette all set up
and you're ready to go? Good.

Let's have them run all the
colours across the screen

that you need to do the painting
that we're going to do today.

And they'll come across in exactly
the same order as I have them

on my palette, starting with the
white and coming all the way around.

And while they're doing that,
let's go on up here and get started.

I've already covered the canvas with
a thin, even coat of Liquid White.

It's wet and slick
and it's all ready to go.

So today, let's just have some fun.

I'm going to start out with a small
amount of Indian yellow.

The tiniest little bit, just tap
a little bit onto the brush.

Let's go right up here in the sky.

And just let a little bit of that
play around, just here and there.

Put that in first.

Just little spots of it.

Maybe a little down here.

I'm going to have a little water
in this painting

so we'll put a little tiny
bit right in there.

Then, without cleaning the brush,

I'm going to go right into
a small about of alizarin crimson.

Just tap the brush. And leave
that Indian yellow in the brush.

It makes a pretty colour.
OK, let's go back up here.

Now then.

I'm just going to bounce a little
bit of this crimson here and there.

Just sort of play it around,
let it have fun.

There we go.

A nice warm little sky,
happy little sky.

A little over in here.

All kinds of pretty little colours.
That looks good enough to eat.

Maybe we'll put just
a touch in the water

since we know there's going to be
some water in here.

Just like so.

OK.

Now then, without cleaning the brush
again, I'm going to go right

into a little bit
of the midnight black

and a small amount
of phthalo blue.

Blue and black. Just a small amount.
This black is so strong.

Let's go back up here.

Now then, in the
sky that's remaining,

just sort of dance in a little bit
of this blue black colour.

Just let it bounce around and play.

Just here and there.

OK.

Wherever you think it ought to be,
that's exactly where it should be.

OK? Use that same colour,
blue and black.

And let's finish up our water area.

Now, water, unless it's moving,
is always flat, so level.

So try to keep these strokes
as straight as possible.

It will make your water look better.

Now, very quickly, this blue
and black mixture is so strong,

it will eat up this little light
area, so try not to cover that up.

I'm going to save a little
touch of that, that will be pretty

when it's all done.

OK, let me wash my old brush here.

And if you've painted with me
before, you know

this is the fun part.

Shake it off, and then...

That really is the fun part.
OK, let's go back up here.

Be sure your brush is clean and dry
and I'm going to, very gently,

using little crisscross patterns,
just blend all this together.

Now, when you're painting it
at home,

you paint as soft as you want it.

The more you blend it,
the softer it will become.

It will just absolutely
all blend together.

There we go.

Just let your imagination take you
wherever you want to be.

You know, one of the letters,
questions I get in letters

all the time is,
where do we get all the ideas

for the paintings that we do?

You know, one of the best ways
we have of coming up with ideas

is from cards people send us.

We get cards from fantastic
people all over the country

and they tell us
what they want to see.

A lot of them send postcards
and photographs.

And believe it or not,

that's where the majority of these
paintings come from.

OK. And that quick, we have a very
colourful, nice little sky.

Let's have some fun.
Let's take the old round brush.

I'm going to go into a little
bit of Van Dyke brown

a little bit of the sienna.

A touch of sap green and we just
mix them together on the brush.

Tap that brush.
OK, let's go right back up here.

I'm going to have some happy
little bushes back here,

and I'm just barely
tapping the canvas.

Not tapping very hard.

And I want them to get lighter
towards the top.

Just make a decision what you
think your bushes ought to look like

and drop them in.

OK, a little bit more paint.

This is dark sienna, Van Dyke
brown, a little bit of sap green.

You don't want too much green.

I want to stay sort of
in the brownish tones.

There we go.

Now, you can take alizarin crimson

and sap green mixed together
to make a beautiful brown colour.

Maybe just little things
that live right up in here.

Just wherever you want.

If you want to show some things
that are far, far away, then just

barely touch the canvas, so there's
just tiny little indications.

See? It looks like little
distant, distant things.

Far, far back in the distance.

Barley, barely touching the canvas,
three hairs and some air.

OK, now then, let's put a few
little highlights on there.

We'll take the same old brush,
just leave it dirty.

Here's a little bit of the yellows,
green, and just tap it, see?

Just tap right into it, OK?

Now then.

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

laying in a few little basic shapes.

And sort of vary the colours between
all the different yellows.

Just barely touching the canvas.

Yellow ochre, Indian yellow,
cad yellow, all these colours.

If you have trouble
making them stick,

add the least little touch
of the Liquid White

or a little bit of thinner
to your brush.

The tiniest little bit.
Tiny little bit.

Just enough so it sticks.

There we go.

OK?

And leave these that are far,
far away, with nothing on them.

Because they're too far away
to see any highlights on them.

Don't kill everything
with highlights.

You'll ruin the illusion
of distance in your painting.

OK.

Now then, maybe you want to create
the idea of mist

just floating around here.
Watch right here.

Just take the big brush and gently
tap right on the base of it,

right on the bottom.

Just tap it.

Now, avoid taking the brush
like this and hitting it,

it will cut it off real straight
and it looks like somebody

took a big knife and just
cut off all the trees.

You want this line to be
very soft and varied,

you don't want a distinct line
across there.

You can very lightly, very lightly,
just lift upward a little bit.

See?

And that easy, you have the
illusion of mist just floating

all down at the bottom of that.

OK, now I'll use the same old dirty
brush and go right into the browns.

This is the dark sienna and the Van
Dyke. Let's go right back up here.

Maybe there's a happy little
hill right here.

Now, we don't want to kill
all that misty area

that we put right in here.

That misty area is what separates,
what divides.

OK, all we're doing now is
putting down a base colour

so our next colour will show up.

You need the dark in order for
light to show. You knew that.

All right, while I have
this colour on my brush,

I'm going to pull a tiny bit of it
down.

This will create
the illusion of the reflection.

Straight down,
be sure to go straight down.

Just like that.
And then very lightly across.

And it gives you the indication
of water. That easy.

Now, same old brush,
haven't cleaned it yet.

Going right into some of the yellows
and the green,

and just tap that brush.

Tap it. All right?

Come back up here. Come right in
here and drop in some highlights.

Right on top of that dark.

And just like before, if you have
problems making it stick,

add a little bit of the Liquid
White or a little bit of thinner.

Thin paint will stick
to a thick paint

and the base colours that we use
are very, very firm.

And here and there, you can even
take a little bit of the red colour.

Look at there. Isn't it pretty?

And just drop in a few
little things.

I'm going to put the tiniest
amount of thinner on the brush.

See how much easier it sticks?

Even though my yellows are a little
bit thinner than the other colours.

Sometimes when you have several
layers, you want it really thin

so it will stick right up there.

OK. That gives us a nice little
background to play with.

And if you wanted to, you could even
pull a tiny bit of that highlight

colour right down
into the reflections, like so.

I'll use another brush.

This one's clean.
Now, pull it down.

This is a clean, dry brush.

And go across.

See how it reflects all those
colours right into the reflections?

All right.

Now, let's take the knife
and I'm going to use a little bit

of brown here,
a bit of the Van Dyke brown.

Pull that paint out as flat as you
can get it and then just cut across.

See how that little roll of paint
right out of the edge of the knife.

Let's go up here.

Now then, I'm just going to,
by rubbing it back and forth,

put the indication of a little
bit of land back here.

We need something for all these
little grassy things to sit on.

I don't want them to fall off into
the water and make a big splash.

There, there we go,
and you can take that same brown

and add a little titanium white
to it.

And with that, make a little touch
of highlight colour.

Just like so.

OK, and take a little bit of the
Liquid White, pull it out very flat.

OK? Then cut across it.

Can you see that?

Cut across.

That gives you a little tiny roll
of paint right on the knife blade.

Let's go up here.

Now then,
go straight into the canvas

and act like you're trying
to saw a hole in it.

Just really get tough with it.

And that cleans up
the bottom of your land

and puts a little water line there.

And creates, once again,

the illusion of distance
in the painting.

Keep these lines basically straight.

You don't want your water to run
out on your carpet.

All right.

Now, we can take a clean knife

and just scrape in the indication
of a few little trunks and twigs.

Little things like that
here and there. No big deal.

Wherever you want them.

OK. Time to have some fun here.

Let's go back to our round brush and
we'll go right back into the browns.

This is the dark sienna,
the Van Dyke brown.

A little bit of the sap green
we'll throw in there too.

Really tap that brush firmly.
We're going to get it loaded up.

OK, let's go up here.

Now then, maybe,
yes, there is now.

Now, really, really hitting
the canvas quite hard.

You can probably see it bending,
I'm hitting it so hard.

There.

Really sock it in there.

Maybe there's a huge... Yeah,
let's have a big tree

that lives right here.

He just hangs
right out over like that.

Look at that.

Look at that.

Maybe right on the pad here,
wherever. You make a decision.

Wherever you want your tree to live,
that's where he lives.

Trees are one of my favourite
things to paint.

I think they're so beautiful.

OK. Let's really get crazy today.

Maybe, yes, there's a happy bush
that lives right there.

And he's got a friend named Clyde
that lives right there.

See, you make up little stories
when you paint. It really helps.

You don't have to be crazy
to do this, but it does help.

There.

See, when you put on your painter
suit, you can get away with anything

because everybody thinks
us painters,

you know, are a little weird.

So we can do anything.

And in your painting, you paint
things that make you happy.

You create your own visions,
your own world.

A lot of the letters
that I've received,

people want to know, what did
I do before I became a painter?

And I spent half my life
in the military.

I worked in a hospital
in the military.

And I would come home from work
and I would paint.

For over 20 years, I would do that.

I would come home and paint
because on this canvas...

On this canvas,
I could have total freedom.

Nobody told me what time to be at
work and what kind of world to make.

Here, I could make any kind
of world that I wanted.

Any kind of world.

Let's put a big tree right here.

Sometimes I talk too much
when I should be painting.

There we go.

But being in the military for
half my life allowed me to see

parts of the world that
I would never have seen.

All the way to Southeast Asia
and back.

And it introduced me to my favourite
place in the world, Alaska.

And it has some of the most
beautiful scenery.

If you ever get a chance
to go there,

if you haven't been,
you really should take a trip.

You'll see where a lot of the
scenery that I paint comes from.

And you may be like me
and won't leave.

I just bought a house
and stayed there.

OK, there we go.

I'm sitting here talking so much,

I've about covered up the whole
canvas, so why don't we?

Let's go ahead and fill all this in.

Sometimes I get carried away,
as I say, when I'm talking.

I don't know when to stop.

OK.

And this is still just the
dark sienna and Van Dyke brown

and a little tiny touch
of sap green.

Not much green.

If you're using a brush this big,
it don't take

but a few minutes
just to cover it all up.

But you can also begin
laying in some basic shapes

and some basic ideas.

You can see them all in here,
and at this point

you're not committed because you
could put this part, in all honesty,

you could put it
on a paint roller.

We might have a whole new way
of painting if we did that.

OK, now you can sort of look at
the shape of some of these trees.

I think I'll make this one
a little bigger.

Shoot, we've covered up
most of the canvas already.

Why not just keep going with it?

There we go.

All that beautiful background
we worked so hard on,

we just covered it up.

Let's take an old fan brush

and I'm going to go right
into the Van Dyke brown.

Load that brush full of paint.

Both sides. OK now, watch.

I'm going to take one side
and go through white. See?

I went through both sides with
Van Dyke brown and then one side

with white so I've got white on
one side, brown on the other.

There we go. Let's go up here.

Now then, let's take,
and right here, a touch.

And give it a little pull.

And by double loading the brush,

we have both sides of the
tree trunk at one time.

Sneaky, huh?

Look at that. Ain't it pretty?

And it's easy to do.

Fun to do.

Let's put a trunk right here
in this old tree.

We can't have him
without a nice strong trunk.

And when you're doing these trunks,

all trees don't become telephone
poles, so make some of them with

little crooks and bends and it makes
your painting more interesting.

See? Put little bends in it.

It really will brighten up your
painting. Make it look more natural.

Spend some time looking at trees.

You know, I go out in the woods
and I hunt with a camera.

I just shoot them dead
with a camera.

And then you save these photographs

and you can take a tree
out of one photograph

and maybe put it with another
photograph that has a beautiful sky.

You can combine these things.

OK, I'm going to take
a little bit of paint thinner

and go right into some bright red.

Right on the liner brush, just turn
it. OK, let's go right back up here.

Maybe on this tree, I'm going to
take a little bit of this red

and just come right down the edge.

Now, very gently,
just blend that out.

See? Doesn't that make a pretty
little tree? It's easy.

There we go. There we go.

Right down the side of this one.

And just blend it out.

And if you wanted to, you could
add a little bit over here.

Just here and there, wherever you
want it. Wherever you want it.

Sometimes you can take just a little
bit of the Liquid White.

Just a bit different here,
you take a little Liquid White

and come right down the side and
then blend it in so it's bright on

that far edge and softer as it goes
towards the centre of the trunk.

And that gives you the indication
of roundness in your tree trunk.

So we can just blend it to whatever
degree of softness that you want.

That easy.

You can just take a plain
Liquid White and here and there,

put an old white trunk,
you know those trees

that have white bark on them.

And they're pretty.
Everything is pretty.

Happy little trees.

There we go.

OK? Now then, a little bit of the
Liquid Black on the liner brush.

And let's make the indication
of a little branch here and there.

Just here and there.

This is just straight Liquid Black.

There, all kinds of little things.

OK, that gives you an idea
how to do that.

Now, we'll get the old round brush

and I'm going to add a little bit
of the Liquid White to it.

This is the same old dirty brush
because I want the colours

to be soft and muted so that
I've let all the browns on there.

I'm going right into the yellows now

and I added a small amount of the
Liquid White just to thin the paint.

Let's go back up here.

Now then, let's make some decisions.
Using just the top of the brush.

Just the top, and just touch.

Try not to hit the same area
over and over

or pretty soon
you'll become a mud mixer.

And if you've painted before,

we've all experienced
a little bit of mud mixing.

Try to avoid that.

And here,
just worry about some basic shapes.

We're just barely tapping.
Just barely touching.

You don't have to hit hard.

You don't have to hit it hard.

Just enough to get the paint
to come off the brush. See?

Isn't that a super nice easy way
to put all those little leaves

and stuff on the tree? All right.

We'll add a little bit
of the bright red to that,

might as well get crazy.

I'm still just tapping.

OK, let's go right up here.

Maybe these over here,

maybe old Jack Frost
has touched them a little bit.

And you're beginning to see
a little colour.

And this is your creation, so
whatever colour you want them to be.

Look at that.

Once again, remember
your little patterns in here.

Don't just throw this on at random.

Thank like a tree.

Think like a tree.

There.

OK. Just working these little
patterns.

Create all kinds of happy
little things in here.

And don't kill all the darks.
You need those darks.

OK.

Let's go over to this other tree.
This one on the far right.

I don't want him to feel left out.

We'll give him a few happy
little leaves up here.

That's a nice one.
That one really worked nice.

And when you paint,
sometimes the brush just hits right

and all these things just sparkle.

They sparkle.
That's one of our happy accidents.

We like those.

Look at that.

I used to spend weeks with a one
haired brush trying to do all this.

Now, I'm lazy.

OK, OK.

Let's take, oh,
I see another bush right here.

Now you can begin just picking out
little individuals.

Just pick them out, let them go
wherever.

Wherever you want them.

There's one that's got what
looks like little flowers on it.

I'll tell you what, let's take the
fan brush. It has brown on it still.

I want a happy little path
that goes right back in here.

You'd have to have a way
of getting back in here

and catching that big trout
that lives right over there.

So we'll just put
some brown on first.

Then we'll just use the same
old dirty brush.

Take some dark sienna
and some white.

Just mix it loosely on the brush.

Now, just barely touching the
canvas, let it graze across there.

And wiggle it,
make it look like little stones.

This isn't a big paved highway,
just little stones and rocks,

so it's not real even.

Just let it disappear right on
into the background, like so.

OK, let's have some fun.

We'll take the two-inch brush
and go right into the same colours

that I've been using, the yellows,
it's all yellows, all the reds.

Just bring them together.

Now then, let's begin making the
indication of little grassy things

that are growing right up
to the path here.

Work in layers.

Do the area that is
the furthest away first.

And work forward.

Always working forward,
forward, forward.

And make little individual things.

Just don't throw them
in there at random.

See? You could even make a bush
right here, just like so.

Don't paint all of them,
leave some of them dark.

OK, over here, I'm just going to add
a little more green to that.

This old big brush, you can
just tap in all kinds of beautiful,

beautiful little highlights.

Like so.

Work in layers.

I can't say that enough.

I can't say that enough.

All kinds of little hills
and isn't that super?

Think where light would strike.

See the lights coming through there
and just zinging here and there.

And if you think light's really
going to strike here, you can add

a little white,
really make it look like

the light's coming through there.

OK, let's go over here
on this other side.

I'm going to put in some happy
little things right there.

Like that.

Always paying attention
to the lay of the land.

There we go.
Nice bright one right there.

It stands out, it makes it look like
a little rounded area.

That helps push that path
all the way back up to there.

OK, I'm going back to my old fan
brush that has the brown on it.

I'll tell you what,
let's get brave right here.

Right here.

Zoom, there's a big old tree.

And he's got a friend right there.

We don't want him to get lonely,
we'll give him a friend. See that?

That helps push the whole path area
back further into the painting.

I'm going to take a little bright
red, a little white and brown

and mix them together here

and let's just put the indication
of some highlight right here.

Make this tree stand out.

We want him to really
shine in the sunlight.

There,
just put a little highlight on him.

Right everywhere you want it.

And we'll use a little bit of
the brown on the other side,

just to make it
dark, dark, dark over here.

That sort of makes that tree
look round.

Get our liner brush.

With some of the liquid black,
and that quick, that quick,

gives us some
happy little tree limbs.

See? And as many as you want.
This is your tree.

So you just put them where you want
them and however many you want.

There we go. Now, we have an
indication of a few branches there.

Let's take the old big brush
with the red into some sap green

and some of the yellows.

And let's go right up here.

And then you can put
the indication of some nice little,

nice little leaves that live
right out here.

Just like so.

Look at that.

And that's all there is to it.

Just drop them in.

And the old clock
on the wall tells me

it's time to sneak out of here
for this week.

So with that, I think
we'll call this painting finished.

I'll look forward
to seeing you again.

Happy painting. God bless.