All language subtitles for The Joy of Painting - 2x23 - _track3_[eng]

Hi! Welcome back.

Certainly glad you could join me
again today.

Got your palette set up?

Let's get going, here.

Let's start off by having them
graphically run all the colours

across the screen that you need to
do this painting with me

and they'll come across, as usual,
in the same order

that I have them on the palette,

starting with the white and working
around.

While they're doing that, let's go
on up here.

I've already covered the canvas with
a thin, even coat of liquid white.

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

I thought maybe today, let's do
a little fall scene

where maybe the weather's not
too great, you know?

In the fall we have a lot
of rainy weather

and, you know, the snow's going to
come pretty soon.

So let's do something like that
and just have some fun.

I'm going to start out using a
small, small amount of yellow ochre.

Just the tiniest little bit.

Very small amount.

And, right here, sort of make
a determination of where

of where the horizon's going to be.

And I'm going to begin swinging
this upward.

Just using the strokes, like so.

Little bit more colour.

We'll have a little water
in this painting.

As you know,
I'm sort of a water fanatic.

I like that water.

A little yellow in here.

OK.

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

in the same way -
just tap the brush into it.

OK. Let's go right up here.

Then we'll put a little brown right
in here.

I'm beginning to create
these sky angles.

Don't let them get too straight
like this,

it'll disturb you when it's done.

Now, I'm going to take the brown
and a touch of Prussian blue.

Let me say that again,
a TOUCH of Prussian blue.

It's so strong.

Just a little bit,
just brown and blue.

OK. Now, then...

Just begin bringing
that all together.

Add a touch of the midnight black
to it.

So, now we have...in the sky, we
have a little bit of

yellow ochre, some brown...

..little Prussian blue...

..and some midnight black.

And we're just going to, sort of,
work all these nice little

colours together. Try to keep
the blue off that yellow,

or you'll get a bright green sky.

OK.

Now, then, before we start blending
that, we still have

a dirty old brush. I'm going to take
some more of the Prussian blue...

..and a little bit of the black.

There we go.

And let's go ahead
and lay our water in.

Pull from the outside in.

See?

If you start from here and go
across, watch what happens.

You touch here and go across,

you get this big line. That's bad.

And then it's hard to blend out.

So, start from the outside and
come over.

And, that way, you don't have that
harsh line

that you have to blend out.

There we go.

Little tricks like that save you
a lot of agony.

We want this to be easy and we want
it to work for you.

OK.

Little bit more of the midnight
black and Prussian blue mixture.

Don't want to kill all that nice,
little yellow area that you have...

..cos that blue and black will eat
it up in a heartbeat.

OK.

Little darker at the bottom
than it is at the top.

That'll help create
your illusion of distance.

OK, let me wash the old brush.

Wash the old brush.

Shake off the excess.

HE CHUCKLES

That IS the fun part.

OK, let's go right back up here.

Now, I'm going to begin blending
this together.

Follow the angles in the sky.

I'm going to use long strokes.

Start in the light area and work up
toward the darker area.

That way your brush is dirty when it
gets to the top.

Use your clean brush in the light
area.

And you can just begin bringing all
of this together.

All of those angles.

There we go.

It's nice and soft.

OK, that gives us
a quick, happy little sky.

Down here, we just go
all the way across.

That straightens out the water and
brings it all together.

And we're ready.

Let me get a little fan brush, here.

I'm going to mix up...

Let's take a little black,
a little brown...

..tiny bit of the Prussian blue and
a little bit of alizarin crimson.

And, to that,
I'll put some white here

and pull a little bit of that
into it.

Maybe I'll add a little more blue
to that.

And a touch more crimson.
There we go.

That's sort of what I'm looking for.

It's a very dark lavender,
to the blue side.

It's very dark.
It's almost a grey colour.

This is going to be
a grey, cloudy day.

OK. Let me wipe off my knife.

Now, let's take the old fan brush

and go right through
a little bit of colour.

Don't need a lot of paint
on the brush this time,

just a little.

Add a small amount of brown
into that.

A little more
into the brownish colour.

There we go, good.

Let's go right up here.

Now, back in here,
you have to make a decision.

Maybe there lives some happy little
evergreens.

Just take the corner of the brush.

Just back and forth.

Just sort of pop in
just a little evergreen.

And some indications of some that
are even further away.

All we see is just the basic shapes.

I'm just touching,
sort of pulling it downward.

See? You can make all kinds of
little, basic shapes.

See? Touch...

Use the top part of the brush and
just give it a little downward snap.

There. Add a little more paint
on the brush.

Maybe over here we've got some...

Now, be careful, or these will get
looking like fence posts.

There.

And to about there,
that's good enough.

Now, then...

..I will put a few more indications
of some trees that have

a little more shape to them,
and we're just using

the corner of the brush.

And just work them in,
back and forth.

These little trees live right in
your fan brush.

Sometimes you have to, sort of,
scare them out.

There.

And you just put as many
or as few as you want in your world.

There we go.

OK. Maybe he's got
a little friend there.

Just drop them in.

Now, then, I want to create
the illusion of mist back here.

I want this to be very soft
and very distant,

so we'll take the two-inch brush
and tap.

I'm using the top corner. See?

Look how hard it's hitting.
It's bending.

Really get in here and tap it.

Tap it. Tap it.

See, then you can create
the illusion of a very,

very soft area back here.

You can even let it come up above
some of these here

to really soften it.

See, these trees are already,

they're already just lost
right in the mist.

OK.

Can you believe how that pushes
all that back,

just that little tapping action?

OK, now, then...

Now, let's have another plane
in the painting, and a plane,

I mean just another area
that's closer to you.

So we'll take those
same old colours,

we'll use some brown,

then we'll put some dark sienna
in there this time,

and a little bit of sap green.

As things get closer, we'll
begin to see a little more detail,

just a little sap green, though, OK?

The brush is really full of paint.

Let's go right up in here.
There it is.

These trees are a little bit closer,
they're a little bit bigger.

Look at that.

Turn that old brush over
and use both sides of it.

There we go. This tree's stronger,
he's got a little more light.

OK? We don't want him to get lonely,
so we'll give him a friend, too.

You know, friends are so important,
not only to trees, but to us,

and through painting
I have made, oh,

I've made hundreds and hundreds
of new friends all over the country,

and that may be the most rewarding
part of all this.

Most rewarding part.

There.

I'll tell you what,
here's a happy little tree.

He lives right there, just sort of,
just sort of visualise

in your mind where you think a tree
would be happy,

and you put him in there.

Just put him in there.

Take a little bit of the dark sienna
and just tap it onto this brush,

and then I want to gather up
some of this colour

that we had on the tree,

and begin, very softly,
putting in little hills.

Look there. See?

Pick up some of that tree colour
and just let it...

..just tap it, just let it go.

There was a tiny bit of dark sienna
on the brush, a tiny bit.

Tiniest little bit.

See how you can set those trees
right up on the little hill?

And then you begin pulling
that down.

But I want this to be very,
very soft. Very quiet.

I like very gentle little paintings.

Now, when you're doing
yours at home,

if you want it to be
brighter and stronger,

just choose a little
stronger colour,

because painting is
a very individual thing.

There.

OK.

Now, let's go right back into here,
load up,

just load that fan brush
full of paint.

OK?

I'll tell you what, let's have
a tree that lives right there,

and we take just the corner
of the brush...

..and begin working him down.

See, you can just push that old tree
right out of that brush.

A little more paint.

Just push it hard
when you get down this far.

When you first start,
you're pushing quite easy.

By the time you get down here, mm,
getting tough with it,

STRONG with it.

A little more colour.

OK? I'll tell you what, let's do,
right here, a big son of a gun.

See, all these different sizes
of trees

help create the illusion of
distance, depth in your painting.

There we go.

Is that beginning to look
like fall yet?

Sort of a mean old sky.

There.

See? Now, then, I'm going
to go back into a little tiny,

tiny little bit of the dark sienna,

tiny, I can't say that enough times,

and I'm going to create
another plane here.

I'm going to pick up
some of the tree colour.

See, and all I'm doing is just
tapping the canvas,

just tapping,
then we'll bring it right on across.

Add the least little touch
more of the sienna.

Look at there.

See, it creates another whole plane

and pushes all those trees
back here,

back into the distance.

Isn't that super?

Now, I'm going to have water here,

so let's take a little bit of
that colour and just pull it down,

so we have a little reflection.

I'm using just a little bit of
the dark sienna,

a little Van Dyke brown on the brush
to pull down

and create a reflection here,
just a happy little reflection.

Like right there. Right there.

And then lightly go across.

OK. Now, then, I'm going to take
the same old brush,

without cleaning it,
just the same old dirty brush,

and tap right into
a little bit of the yellow ochre

and the bright red, and just tap it
gently, see, just tap, OK?

Now, then.

Here, this is a little closer,

so we're beginning to see
an indication of some highlights,

in the same way, just gently,
gently tapping.

That was bright red and a tiniest
little touch of that yellow ochre.

Now, the red is very strong.
Be careful with it.

Be careful with it.

It'll eat up your whole world
in just a second.

Take a little brown,
a little dark sienna mixed together,

pull it out, cut across,

get that small roll of paint right
there on the edge of the knife.

OK, now, then, just a little
land indication right in there.

Just like so.

I'm just sort of scrubbing
across the canvas,

the tiniest little bit, add a little
white to that same colour,

like that,

and then just an indication of
a touch of highlight here.

I don't want much highlight in this,
just a touch here and there.

OK. A little bit of the liquid white

to cut across it and we'll put an
indication of a little water line.

Not too much, not too bright.

OK. Now, then, go back
into my browns.

The sienna and the Van Dyke.

And I'm going to grab some
more of this tree colour

and I'm going to put
a little peninsula.

I think it comes right out here.

And when you're doing this,
just step back

and look at your painting
and make decisions.

Just make decisions.

Pull a little bit
of this colour down.

Just a little.

Go gently, gently across.

Now, same old dirty brush
back into my yellow ochre

and bright red mixture.

Just a little. Same old dirty brush.

Then get over here and a little
bit of this cad yellow to it.

It's all right. Now, then.

Follow the angles of the land.

The lay of the land.

Just follow it right on down,
brighter on top and darker,

darker, darker as it works down.

If you want to show
a little protrusion here.

See? See? See how easy that is?

Creates the illusion of another
little hill just by changing

the value of the colour,
or the intensity.

A little bit of that right down
to the water, go across,

and you have instant reflections.

Let's play a little bit over here.

I'll tell you we'll do,
we'll use a round brush

and go right into my browns.

That's the sienna and the Van Dyke.

Tap out the excess.
Let's go up here.

Maybe back in here
there's some happy little trees.

Maybe these are little birch trees
that live way back in the distance.

Just put some little indications.

Like so.

Like so.

Use the old script liner brush,
just take it,

a little paint thinner on it
and go right into the brown,

turn it, bring it to a sharp point.

Let's put just a few basic,
very basic indications

of a tree branch here and there,
a little tree trunk.

I'm not looking for a lot of detail.

Same old dirty brush
and I'll go into a small,

small amount of the yellow ochre
and the bright red.

The smallest amount,
I'm just barely touching.

Then I want to just touch
right at the top here.

Put some indications, begin forming
some basic little patterns,

some little shapes into your trees.

Don't just throw
these in at random.

I know I say that in every show, but
I get the most letters about that.

"My tree shapes don't look right."

And that's normally,
normally the problem.

99% of the time the problem
is, is a colour

that's just thrown on at random.

Sort of look at it. Practise it.

A little bit of practice here
will pay you tremendous dividends.

Tremendous dividends.

Just a few little bushes
and all kinds of things.

OK. I'll tell you what,
on to a little brown.

And let's put a little land area
right there.

See? Just right there,
right there.

OK, a little bit of
that highlight colour.

That's just a little brown
and white.

Not too much, just a little here.

A little bit of the liquid white.

Cut us in a little water line.

I'm going right back into
the browns.

I have yet to wash this brush.

I've been going back and forth
between the browns

and the highlight colours.

And now I'm going to put another

little peninsula that lives
right there.

You don't care
if the bottom of it comes down

because you just pull that down.

That easy, that easy.

Makes little reflections
and then lightly, lightly go across.

Go right into our colour.

Yellow ochre, bright red, a little
Indian yellow here and there,

a little cad yellow.

Put a few little highlights on it.

OK.

See? And you can put a little land
under that. Just a little dirt.

Just a little dirt.

Like so.

And maybe take
a little of the liquid black.

Maybe there's a happy little tree.
Doop!

Lives right out there.

There we go.

He lives out on
this little peninsula.

Give him little foots to stand on.

Don't want him to fall over.

He's a strong little tree.

All kinds of little downs.

There we go.

A few little sticks and twigs
down here.

And when you're doing this at home,
you put as many sticks

and twigs as you want in there.

OK, back to my browns.

Let's build a little more here.

Come right down here. Here we go.

There we go.

Just sort of fill all of this up.

I just see all kinds of things.

Just fill that right up.

Oh, to maybe about there.

Once again, when you work in layers,
work in stages,

completing the most distant area
first and working forward.

Always working forward.

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

I'm going to put a little cabin back
here, a little house.

Wouldn't it be nice to live here

and watch all the big
Canadian geese come in?

Right there, that's where
the little house will be,

we'll give him a little roof.

Just pulling over.

Come right down. There we go.

All I'm doing here is
blocking in colour.

Just blocking in some colour.

OK.

We'll take some white,
some dark sienna,

a little bit of Van Dyke brown,
pull it out flat.

A little roll of paint. OK?

Maybe there's some boards in
this old building that go this way.

See, they come right across
like that,

doop, doop, doop, doop.

There we are.

Cut him off with that dark.

And now maybe down here,
this may be an old log cabin.

Let's put the indication
of some things going like that.

Look at that, look at that.

Now a darker colour on this side.

Just put some indications
right on down.

And we need something on the roof.

I'm going to add a bright bed
to that colour, just a tiny bit.

Right down the roof here,
just let the knife balance,

go boop, boop, boop, boop, boop,
boop.

You've got to make that noise
or it don't work!

It doesn't work.

I'll take the least little bit of
light colour, just a little white

or something, just to highlight
that, so it stands out

and you can see it.

Just so you can see it.

Dark down in here.

Maybe this house
has stones underneath.

You can just take the point
of the knife and just very quickly,

just scratching in
some basic little stones.

He has a basement in his house,

he's really got a fancy cabin
out here.

Let me get the little knife
for a second.

OK, take a little bit of the
Van Dyke brown.

Let's have him a door.

Maybe he's got one door
right down here

so he can come right
in the basement.

Cut that right off
where you want it.

There's just a little white
on the knife to highlight that.

And then we'll take one
of the small edge of the knife,

a little bit of Prussian blue.

Just put the indication of
a few little windows in there.

Ain't that easy?
Makes us a happy little thing.

OK, let's go back to bouncing
right into some of this colour.

Bright red, yellow ochre,
cad yellow.

Now, then, let's come
right down in here.

Oh, that's a pretty one.

That's a pretty one.

Now, if you have any trouble at all
making your paint stick,

add a little tiny, tiny bit
of your liquid white.

Or paint thinner, whichever.

Liquid white will change your colour
a little bit.

Make it a little brighter.

There. I'll tell you what, I'm going
to take the little knife again.

And come right in here.
Put a happy little path coming out.

He's got to have a way to get down
to the lake

to catch that big fish
that lives down here.

A little bit of land,
some stones here and there.

Just whatever.

A little brown and white
for some highlights.

There we go.

Now, then, let's go back
into our ochres and reds

and Indian yellow, and let's begin
bringing this right down.

I like this little painting

because it really does give you
the feeling of fall.

There we are. See?

Just make little layers,
little things happening

all down through here.

OK, I'll tell you what.

Maybe right in here...

..lives a little tree.

Maybe that's just a little...

Maybe that's a little birch tree.

I like birch trees.

And they usually grow in clumps
so you have to put several of them.

It's real rare that a birch tree
grows by itself.

He's a community tree.

OK? A little bit of
the liquid black.

And we can just put the indication
of a happy little limb

here and there.

That really helps push
your little cabin

back further into the painting.

Much further back.

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

Let's go back into the browns.

Put another little peninsula right
there.

And in your one,

you put as many or as few
of these as you want.

I just want to show you how to do
it, and turn you loose on the world.

Pull that straight down.

Come right across.

Go right back into my highlight
colours, the yellow ochres

and the reds.

Let's come right along here.
See there?

Drop in a few little
happy highlights.

I want to take my fan brush again,
go right into the Van Dyke brown,

dark sienna,
just mix them together.

OK? Right here, right here.
Somewhere right here.

There, just make a decision
and drop it in.

A big old tree.

A big old tree.

And this big tree will help push
everything in your painting back.

Helps create much, much more depth
in your painting.

Give it a big old root
to stand on down here.

A big tree has to have a big root.

There we go, we're just making
the indication of a limb

that comes right out.

Just tap it on with a thin brush.

Then we can take a little bit
of the bright red, the dark sienna,

the white and mix them together.

Like so. Cut across it,
let's go up here.

And just put some highlights on.

Here's these warm colours that
really make it feel like fall.

I'm going to get my coat out
and start seeing if it's all right.

Just a few little highlights
here and there.

Now, then, back to my liner brush
and right into the liquid black.

It has some limbs that are
just hanging every which way.

Just drop some of these in.

There's one.

Wherever you want them.

Just pull them out. Pull them out.

See there?

You can make all kinds of beautiful
little things happen there.

And I think this one is
getting close to being done.

Put a little ground area right
in here.

A touch of highlight on it and we'll
call this painting finished.

I hope you've enjoyed this one.

It's a nice little painting

that will give you a lot of
happy little ideas.

From all of us here,
happy painting, God bless.