All language subtitles for The Joy of Painting - 1x04 - _track3_[eng]

Hello, I'm Bob Ross, and I'd
like to welcome you to the tenth

Joy of Painting series.

If this is your first time with us,
I hope you grab a few paints

and some brushes and come along
and paint with us.

If you've been with us before,
first of all,

I'd like to thank you
for inviting me back again.

So, I tell you what, let's have them
graphically run all the colours

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

And they'll come across in the same
order

that I have them on the palette,

starting with a titanium white
and working all the way around.

While they're doing that, let's go
on up here and talk a second.

This is an 18 by 24 canvas.

This is a double-primed
pre-stretched canvas.

And I've covered it with a nice,
thin, even coat of liquid white,

which makes it wet, makes it slick,

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

So we have that ready.

So let's get together and let's
do a fantastic painting.

I'm going to start off today
with a small amount of phthalo blue.

And we'll just take and pull
a little bit out and then tap

the brush.

That assures a nice, even
distribution of colour all the way

through the brush. Just tap it.

Just tap it like so.

Just go right up here.

Now, then, let's start right up in
here and we'll use

little...little crisscross strokes.

Just make little Xs

and let's put in
a happy little cloud, a little sky.

OK, a little more of the colour.

And this phthalo blue is
very pretty, bright and shiny.

It's a happy colour.

There. Just continually use
these little crisscross strokes

and allow the colour to...

It just literally blends
with the liquid white.

And as you work downward here
and you get all these fantastic

little effects automatically.

See, that easy, that easy,

you have a quick little sky.

There.

Well, while I have this
on the brush - tell you what -

let's add the least little amount
of phthalo blue.

Or phthalo green, I mean.

So we have phthalo blue
and phthalo green.

Just a small amount of the green.
It's very strong.

Let's go back up here.

Maybe we'll have a little water
in here.

So we'll just pull right
across like this, very gently.

And pull from the outside in.

There.

So you try to pull, though,
from the outside in.

If you start here and come across,
it'll leave a great big mark.

It's very hard to blend out.

We want to make this as easy
as possible.

Here, all we'll do is just blend
that it together

and that little light area
remains right here.

And it sort of gives the...gives the
illusion of a silhouette of light

coming across there, just
a little...little shiny area.

OK. Let's wash our brush now.

If you've painted with me before,
you know this is the fun part.

And we wash our brushes
with odourless thinner.

Shake off the excess and then...

HE LAUGHS
..just beat the devil out of it.

All right.
Now, with a nice clean brush.

Now, we'll go right back
up here and we'll just blend

the sky out a little bit.

Still using the little crisscross
strokes.

And you can work this sky
till it's absolutely dead

or you can leave some of these
little dark and light areas

in it to give it some life.

And very gently we'll blend it to
take out

the brush strokes right
across the bottom.

And we have a happy little sky.

That easy. That easy.

OK, now then, let's make... Let's
make some big fluffy clouds today.

I'll go right into the titanium
white with a one inch brush.

Pick up the least little
touch of the bright red.

Very small amount.

It's very strong. It'll eat up your
whole world.

OK. Load a lot of paint
into the brush.

Let's go up here now.

And maybe there's happy little
clouds that just sort of float

right around the sky and have fun.

Just sort of mix them up on here.

Clouds are very free.

Just let them play, let them play.

Maybe he comes right off in here and
goes off the top of the canvas.

Wherever. Wherever.

This is your world.

So you create any kind of illusion
that you want in your world.

There we go.

And these are just little floaters,
little happy clouds.

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

Now then, we'll take a clean, dry...

Be sure it's dry.

..two-inch brush.

And I'm going to just gently blend
it, using tiny little circular

strokes, tiniest little strokes,
and just blend this together.

Just blend it. Just sort of mix it
up.

Then we're going to lift it.

This sort of fluffs the cloud,
just fluffs it right up, like so.

See? And then very lightly, there we
go. Isn't that fantastic?

You can do a happy little cloud
that easy.

OK.

Shoot, we're just going right along
here. Tell you what...

I lived in Alaska -
oh, gosh - nearly 14 years or so.

And I really like mountains.

So let's do a fantastic
little mountain.

I'm going to take some black, some
Prussian blue, some Vandyke brown.

We'll put some alizarin crimson
in there too.

Be careful with the crimson
or your mountain will turn purple,

which is all right.

That's all right.

They wrote a beautiful song
about purple mountains.

Pull it out very flat
and then cut across.

So you have a small roll of paint
right on the edge of the knife.

There you go. Let's go up here.

Now then, you have to make...

You have to make
an almighty decision.

Where does your mountain live?

I think he's going to live -
he is now - right there.

Right there.

Maybe there's a bump there.

Just sort of make a decision
and put it in.

Mountains grow in all kinds
of shapes and colours and...

There. You're restricted
only by your imagination.

We'll pull this right over
like that.

Now, scrape off all the excess
paint.

I'm just really using firm pressure,

pushing that paint right
into the fabric.

Now then, we'll take a two-inch
brush

and I want to grab it and pull.

This removes excess paint and blends
it out so it gets lighter

at the bottom.

If you can see the entire mountain,
it's always lighter at the bottom

than it is at the top
cos we have mist, pollution,

and all those things that break up
and diffuse light.

See, because this is wet so
you can just move this paint.

You can pull it, you can move it
all over the canvas.

If this was a dry canvas,
you'd be in agony city right now.

There we go.

Let's go back to the knife
and let's put some snow

on this mountain.

For that, I'll take the titanium
white and pull it out very flat

and then cut across to get
that little roll of paint again.

See there? Just go back up here.

Now, think where your light's
coming from.

You have to start making
some big decisions now.

If you're right handed,
normally it's easier for the light

to come from the right side.

So let's go right here. Touch.
No pressure.

Just the weight of the knife.

No pressure. You see there?

Let it flow right down the side
of that mountain.

Look there. Look there.

Just follow the angles
in your mountain and let it float.

Absolutely no pressure, no pressure.

Pretend that if you're not careful,
your hand will

just literally float away.

Just float away.

Very soft and very gentle.

So then you have to make
big decisions.

Maybe this peak right here.

Oh, look here. Look here.
There it comes. See?

You can bring it right in front.

You can move mountains.

You can do anything on this canvas,

On this canvas,
you have total power.

Absolutely.

Now then, let's put some shadows
in there.

For that, I'm going to take some
white,

we'll put a little Prussian
blue in it.

Just white and Prussian blue.

Mix it up till it's about
that colour.

Pull it out very flat again.

Cut across. Once again, we have a
small roll of paint.

It's very important how you load
this knife.

Just go back up here.

I want to touch and just pull down.

Now we're following the angles
on the other side of the mountain.

Watch here.
I want to push that back.

So we'll come here and then I'll
come distinctly through.

See how it pushes that peak right
back.

Sneaky, huh?

It's easy to do. You can do it.
You really can do it.

There's no big secret here.

We'll show you everything
that you need to paint

fantastic paintings.

There we go. Look at that.

See, when you put those shadows
in there,

everything just sort of pops
out at you.

It brings it alive.

The shadows are very important.

See now, we have a little hunk of
paint right here that doesn't look

like much until we add a shadow
under it.

See there? You add a shadow

and it becomes a separate entity,
it becomes a ridge all by itself.

Come right over here.

And just pull in all kinds
of happy things.

And you can move these mountains
anywhere you want to.

Watch here.

Sometimes it's fun just to play
some games.

You come right down in here
and look there.

Look there.

There's another peak, that easy.

That easy.

When you put the shadow in here,
then it really becomes

a personality on its own.

You can create little ridges
wherever you want them.

And it's just a game of angles.

Mountains are just geometric shapes.

Now, we can take...

Maybe I'll bring this one
distinctly in front of that.

See there?

It pushes that mountain back.

This is one of the ways that you

create depth and distance in your
painting.

There we go. Just work with
different planes.

OK, I get carried away sometimes.

I really like to paint mountains
and I just cover up the whole canvas

with mountains, and that's not
bad when you're learning.

Take an old canvas and start at
the top and paint

all the way down with mountains
and then just zip them right

off and do it again.

That's the way you learn.

If there's a secret to anything,
it's practice.

Just practice.
And you really can do this.

I get hundreds and hundreds
of letters from people

all over the country, just
like you and I,

and they're painting beautiful
pictures.

On some of the series we've showed,

some of the photographs that people
have sent, it's almost unbelievable.

There. All I'm doing is tapping
and then lifting upwards.

Lifting upward like that removes
the tap marks and creates that nice

soft misty area down there.

And over here,
we follow these angles.

Always follow the angles
that you've created

in your mountains.

See there? And that easy,
we've got a happy mountain.

OK.

Let's make some little foothills
back here.

We'll start off and mix
up some colour.

I'll just use this mountain colour
and just put a little...

Let's put some white with it and see
what we have here.

So that's just mainly some blue
and black, alizarin crimson,

and to that, I'm going to add
the least little touch, least

little touch, of sap green,

just to give it a little
greenish colour.

Part of it here, I'm going
to add some white

and make it even lighter, just like
so.

OK? I'm going to clean my knife.

Now then, let's use a different
brush today.

This is an oval brush.

Maybe can get a close up shot of it.

It's...it's a little different.

So it's sort of round.

This is an oval. A little different.

Watch here, though.

I'm going to fill it full of
that colour we just made

just really load it full of paint.

OK? Let's go right up here.

Now then, you have to make
a big decision.

Let's say the little foothill
lives right here.

And all I'm doing is just tapping.

Isn't that fantastic?

Look at all the little,
little things it makes in there.

Looks like just the tops
of thousands of little trees

far off in the distance.

Look at that. Mm.

Look at that. Look at that.

Now, the super easy way
to make little foothills.

Now, with a clean, dry brush,
I want to create some mist

at the base of this.

All I'm going to do it is
just tap the base.

Just the base down here.
Don't tap the top.

I'm going to soften that.

I'll give it a little tiny
upward lift.

Now then, I'm going into the same
colour, only a little bit darker.

Just a little darker.

Load the brush the same way.

Go back up here.

Maybe there's another little
foothill.

And he lives right here.

By being a little darker,
it stands out.

As things get closer to you
in a landscape,

they should get darker in value,
darker in colour.

Look at that. See there?

Maybe there.

See how easy that is?

Painting does not
have to be difficult.

Does not have to be difficult.

You don't have to be blessed
by Michelangelo at birth

to be able to paint.

You can do it and it's fun.

There we go. Add in a
little bit of mist, just like so.

Give it a little upward lift
and you can make layer

after layer after layer.

Take a little more colour -
Same colour, just a little darker.

Watch here.

Maybe you want to come right in
here,

put the indication of another one.

There's no limit,
but they need to get a little darker

as they work forward.

Look there.

If I'm not careful, I'm going to
cover up the whole canvas

with foothills and mountains.

There we go.

Ain't that easy?

We have several layers of foothills

and these different
layers are plains.

Once again, this is what causes
a depth in your painting and really,

really makes it look good. Course,
we're not interested in making money

but should you ever be looking for
that happy buck

when you're painting,
this is what sells paintings.

Let's have some fun here.

We'll take some black, some Prussian
blue, sap green...

We'll throw in some
alizarin crimson too.

What the heck?

Good dark colour, should look black.

Let me clean the knife.

OK? Now use a fan brush.

Load it full of paint.

A lot of paint.

Both sides. Just go right up here.

Maybe there's some little evergreens
that live back

here in the distance here.

I'm just going to take it and tap
downward.

Just some little trees, not
all evergreens.

Maybe there's all kinds
of trees. Just tap downward.

Tap it downward. See there?

Now, these are a little closer.

So you're beginning to see
a little more detail.

A little more detail.

There, now, maybe...
Ooh, there's a nice one.

Just tap downward, though.

It makes those nice little
happy tops up there.

And don't make them all real even
because then they look

like fence post out there.

Give them some character.

There we go.

OK.

There. Now, this colour's a little
darker, so it stands out.

Let's have some fun.

When I was a traditional painter,

one thing that used to drive me
crazy was reflections.

Watch here on a wet canvas, though.

All you do is grab it
and pull it down.

Just grab and pull down, straight
down.

Where the trees are taller,
pull down a little further.

Look at that. Look at that.

Instant reflections. Isn't that fun?

That's one of the things that works
the best in this method

of painting, is reflections.

Just pull it straight down
and then very lightly,

three hairs and some air, just go
across and it creates the illusion

of water.

Now then, take a little
of liquid white on my knife...

..and we'll get a touch of the dark
sienna and add to that,

just the least little touch.
There. Just to dull it down.

Now then, when you load this knife,
take it, cut across like that.

See? Cut right across.

Pull it out flat and then cut
across. Just go up here.

Now then, come straight
into the canvas.

Push very firmly and just cut
in a happy little waterline.

And keep this basically straight,
you can go anywhere you want to go

but the individual strokes
should be straight.

Otherwise, your water is going to
look like it's running right

out of your painting, get your
floor wet, and you're going

to be upset with me.

I want you to be happy.

There. See?

Maybe a little ripple here
and there.

All kinds of happy, little things.
That easy. That easy.

You got it.

Now, you take a clean fan brush
with the least little bit

of white on it and make it look
like little tree trunks far away

just by lifting upward.

Just far back in the distance.

Just barely touch it and lift
straight up.

There, just a few. Don't over do.

Wash the old brush.

And let's have some fun now, shoot,
let's have some fun.

Go mix up a bunch of dark.

We'll take some of the midnight
black, Prussian blue,

we'll even throw some Vandyke brown
in there,

alizarin crimson, sap green.

Just all the dark colours,

basically, it doesn't matter.

Make a big wad of paint.

Let me clean the old knife off here
and let's have some fun.

Let's get a big brush and I'm going
to load this full of paint.

So often, we avoid this big brush
because of its size.

But the big brush can do
fantastic things.

Wiggle it. Wiggle it.

That loads the bristles full,
and pull it,

that makes it very sharp.

And we're loading this brush
to a chisel edge.

It takes a lot of paint
in the brush.

You'd need enough paint
to hold the bristles together.

See how sharp it is?

Very good. That's a chisel edge.

Let's go up here and maybe, tell
you what, maybe a happy

little evergreen lives right there.

We touch, then just the corner of
the brush...

..begin working back and forth.

And we've got to put some arms
on this tree, got to give him some

little arms so I can reach
up and gather the sun up.

Look there. Look there.

Reload you brush for each tree,
each tree.

There we go. Corner.

And you sort of make those bristles
bend downward.

Isn't that fantastic?

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

As many or as few.

Yeah. Let's have a third one there.

We don't want them to get lonely.

Even trees need a friend.

We all have to have a friend.

So we'll just put one right there.

OK. Let's make some...

Let's make some leaf trees.
To do that

we pull the brush through the paint
like so, one direction, pull

it firmly through the paint
and that rounds one corner.

See there? Gives it a sort of a
rounded look.

There we are.

Now, with that rounded corner
toward the top,

let's go right up here. Let's put a
happy tree that lives right here.

Touch, and give it a little push.

Just bend the bristles. See there?
then form your tree.

Just like so, it's that easy,
just form your basic shapes.

Sometimes you get carried away
and just keep going.

What the heck?
We just push that little lake

way back in the distance.

What the heck?

When you have this kind of power,
you can move lakes anywhere

you want them. I'll put a happy
tree right here.

Here it comes.

Just bring all that right
on together.

There. And here,

all I'm doing is putting
in some dark colour.

We'll come back and we'll highlight
all these.

Look at that. And that quick with a
big old brush,

you've got that all blocked in.

Now let's put some... I'll take
some dark sienna,

a little white, pull it out flat,

get that small roll of paint.

Like so.

OK, let's go right up here.

And we just put the indication
of a happy little tree

trunk here in there.

See there? That easy. Just sort
of touch,

give it a little sideways pull.

Maybe there's some back in here.

We don't know how many trees
live in there.

Take the point of the knife,

and you can put some dead sticks
and twigs on there. That easy.

Let's take some white, brown,

and I'm going to release a little
touch of blue into that,

like so.

Cut across.
Maybe there's a little tree trunk

that lives right here.

And you can put these everywhere
you want them.

Watch here.

You can just take the knife, scrape
in all kinds of a little things.

When this is all finished,
some of these will show,

and people will think you've spent
just days and days

working with these little one haired
brush, putting them in.

Don't tell them any different. Shh!

Keep our secret.

Let's take a one inch brush
and we'll dip it right into some

of the liquid white.

I'll go into yellow and I'll reach
up here and grab some sap green.

So I've got cad yellow, sap green,

and there's a little liquid white
on the brush -

that makes
the paint thinner.

Thin paint will stick
to a thick paint.

Now, let's put some leaves on this.

This is what begins bringing
this painting alive.

And bring about little forms here.

Don't just throw them on at random.

Make little...little forms.

Think about these all kind of little
individual limbs living in there.

All right.

We can add some yellow ochre
to that.

And put another happy little bush.

And you can put as many or as few
bushes as you want, but do the bush

that you think is the farthest away

first and then work forward.

That way, you have layers of bushes.
Add a little yellow to that.

But these layers, once again...

I know you get tired of hearing it,
but it's important.

These layers create the illusion
of distance in your painting.

Here I'm using the brush sideways
and just... Can you see that?

..just pushing it upward.

That's all there is to it, just push
and bend.

OK. Let's go over here on the other
side,

then you have to start making
some big

decisions, big decisions.

There's trees that live in here.

So you have to sort of pick
them out, pull them out.

There they are. See that? There he
is.

Here's one back here.

Just decide where trees
live in your world. Put them in

Put them in. Maybe, maybe, maybe,

maybe we'll use... I want to add
a touch of the bright red

here. Boy, this will... This

will make a nice one.

Don't go too crazy with this red.

It's a fireball.

There's a nice little colour
right in here.

We'll have another little bush. See,
but they're just layered, one

after the other. One after the
other.

Looks like a nice place
to go fishing.

Now then, I'm going to add a little
more sap green.

Just bring this brush to a nice
chiselled edge.

I go up here and put on a little bit
of highlight onto the evergreens.

Don't kill all your dark.

Careful not to kill
all your dark areas.

They're very important.

There.

OK, there we go. A bit on this
tree.

Don't want him left out,
don't want him left out

I tell you what....

If you had a beautiful place
like this,

you'd have to have a way get up
here and catch that big trout

that lives in there.

I know there's a trout that lives in
there.

Let's take some Vandyke brown
and let's go right in here.

And maybe there's a happy
little path.

See how easy this little path
is to make?

There you go.

We're going to let him go
round behind that tree.

We don't know where it goes.

It just goes right on around and
hides.

We'll take some brown and some white
and then very lightly,

barely touch...
There's a little blue in there, too.

Brown, white, touch of blue,
it makes grey.

Just put some highlight on there.

Now then, we want to set that path
down into the painting.

Let me get another one-inch
brush here.

A little bit of liquid white.

Load it full of colour.

Now, to set this path
down into the painting,

watch here,

push a few little bushes
that come right over it.

See?

There's another happy little bush.

And just push that path right back,
look there, just disappeared.

We don't know where it's going now.

And we don't care.

Like so.

And we can take the knife
and very gently scrape in a few

little sticks and twigs here and
there.

Get a few to go right over like
that.

And I take liner brush,
a little bit of paint thinner on it,

and let's sign this, and we'll call
it finished.

I really hope you've enjoyed
this and I thank

you for joining me today.

I look forward to seeing you again
in the very near future.

From all of us, happy painting.

God bless.