All language subtitles for The Joy of Painting - 1x11 - _track3_[eng]

Hey, welcome back.

Certainly glad
you can join me today.

You ready to do
a fantastic painting?

I thought today we'd do something
that's a little bit different,

and I really, really believe
you're going to enjoy this.

Let's go up here,
and let me talk just a second.

Now, we have our good old
18 by 24 inch canvas, as normal,

but today I've covered the entire
canvas with a very, very thin coat

of the Liquid Clear.

And if you remember, in some
of the past series, I've used that

to do some beautiful,
beautiful seascapes,

and I've got so many letters saying,
"Can I do landscapes with it?"

Well, I want to show you something

that's a little different, and
I think you're going to enjoy it.

So let's start out and have them run
all the colours across the screen

that you need to do
this little painting with me.

And they'll come across as usual,
starting with the white,

and they are in the same order
that I have them on my palette.

And let's go on up here
and get started.

As I say, there's just a very
thin coat of this Liquid Clear.

Now, the biggest thing to remember
when you're using the clear

is to put the tiniest
little amount on.

It goes so far.

One jar will probably last you
the rest of your life.

Very, very thin amount.

Now then, let's have some fun.

Let's do something that's -

hold us to a background today
that's a little different.

I'm going to start with the
least little touch of Dark Sienna -

and very little paint.

Very little paint.

Let's go right up here.

Now, just pick a spot you like,

and let's do something like that.
See how easy that is?

All right. Now, reach over here,

we'll grab a touch of
Alizarin Crimson.

Same way, but there's very,
very little paint on the brush.

Very little.

And we'll just do this.

Now, most of these colours
in the background

that I'm going to use today
are transparent.

And by being transparent, they'll
give you a whole different effect

than if you had Liquid White
on the canvas.

You'll enjoy this one.

OK, I'm going to go into
a touch of Van Dyke Brown.

Just the least little touch,
least little touch.

And we'll just do another one.

And all I'm doing is making little
streaks of colour here and there.

Get a tiniest little bit of
the blue.

Tiniest little bit of blue.

We'll come right up in here.

Ooh!

Right there. Right there.

And just sort of let these colours
work together,

but we don't blend them
totally to death,

just sort of here and there,

and just sort of let your
imagination go crazy.

This is one of those paintings
you should really do

when you're in
a fantastic happy mood,

and you just sort of
want to let things happen.

I'm just going back and forth
between the crimsons and the browns

and blue...

..whatever. Whatever.

Just sort of let your imagination
be your guide here.

Back to the Dark Sienna.

Maybe I'll put a little darker
streak here and there.

Just there.

And that's one.

Now, I want to make the indication -

this would be almost...

..almost unrecognisable.

But back in here, maybe, baby,

there's just a slightest little
indication of some distant trees.

I'm going back into
the Dark Sienna, and tapping.

Just tap a little colour,

maybe pick up
a little bit of the crimson,

a tiny little bit of colour.

Let's go back up here,
and maybe back, way back in here,

there's some big trees
that live back in there.

But they're so far back,
you don't make out anything,

but just very, very...

..little shapes.

There. See?

We're not looking for any detail.

Avoid detail at this point.

There we go.

Add a little bit of
the Van Dyke Brown in there,

and you can make some of them
maybe a little darker.

It's almost abstract, back here.

OK, maybe there's
a little one in here.

Wherever. You just sort of make up
your mind where you'd like one,

and drop it in.

Because this is - for today,
this is really your creation.

I don't even know what this one's
going to end up being.

There's one that's
a little bit darker.

OK...

..like so.

All right.

Now then, tell you what -
let me just beat the paint

out of that brush, and very lightly,

very lightly, I'm just going to
lift all this up.

Just barely touching.

I want to blend it
right back into that background.

See it there?

Now then, I'm going to
lay the palette down today.

Pick up a... Let me grab
a fan brush here.

There we go.
Here's a nice fan brush.

I'm going to dip it
into the paint thinner.

Now, the Liquid Clear...

..and paint thinner
have almost a violent reaction.

So watch what happens.

I'm just going to use
the edge of the knife,

and just flick a little on here.

Look at that. See?

Makes all those beautiful
little patterns in there.

Now, this is so much fun,

you can get carried away,
and just eat it all up.

So just a little at a time.

Just a little at a time.

You can always add more.

And if you do too many
and you don't like them,

you can go back and add
some colour in there.

See how pretty that is?

And it's so simple, and it makes
an effect that's very unique,

And it looks like thousands
and thousands and thousands

of little leaves,
that are far, far away,

but we have no detail in them yet.

There we go.

Now, the longer this sets,

the more these little things
will grow.

Let's have some more fun.

Let's do some big evergreens now.

We have this nice soft background.

I'll take some blue and some black.

We'll grab a bunch of brown,

some Sap Green...

..shoot, we'll throw some crimson
in there, too.

I'm just really looking for
a dark colour.

You might as well
mix up a big bunch.

OK, let me clean my knife off here.

I'll tell you what, let's do...
Today...

..let's make some nice big
evergreens back here,

and we'll use a two inch brush.

Sometimes we avoid this big brush
because it's so big.

But it'll do absolutely
fantastic things.

Now, pull the brush through the
paint, and wiggle it as you pull it.

Both sides, wiggle,

and then sharpen it,

just like you would a fine knife.

And you can bring this brush
to a super chiselled edge.

See how sharp that is?
Look at that.

That's what you're looking for.

Pull it through by wiggling it.

A lot of paint in the bristles.

If you don't have a lot of paint,

then the bristles will not
stick together,

and they'll flop open every time.

OK. So let's just sharpen it,
so it's very sharp.

Now then, maybe right in here

- there is now -

we'll have a big evergreen tree,

and just begin working
back and forth.

Use just the corner of the brush,
and push downward.

Just push downward.

Now, these are close to you,

so we're going to have
a lot of detail.

Look at that.

Did you ever believe you could make
such a fantastic tree

with a great big brush?

Look at that.
I tell you what, let's do...

I see something else here that
I think would just work very nice.

In a painting, you want to put
a lot of planes.

These planes create the illusion
of depth and distance.

Let's put a plane back here,
before we put too much on.

And I'll show you how that'll help
push everything back.

I'm going to use the round brush
and the tiniest little bit,

tiniest little bit
of the Dark Sienna.

And just tap.

OK, let's go right up here.

Maybe there's some little bushes
that live right there.

Tiniest little bit of colour,
though.

There we go. See?

And that easy,

you can create all kinds of happy
little bushes that live back here.

Just like so.

Now, how about taking the brush
and pulling it?

See, this once again, is a colour...

..it's very transparent.

So very nice little things happen.

And when we're done,

this will look like
a little plane back here.

I'll show you in just a second.

And that'll help create the illusion
of more distance in your painting.

Of course, none of us are
interested in that happy buck,

but should you be,
this is what sells your painting.

With a liner brush,

with a paint that's been thinned
with a little thinner,

you can add just indication of a few
little sticks and twigs back here.

Not too many - just a few.

Just a few.

Like so.

OK.

Shoot, I'm going to make some more
of them evergreens. Those are fun.

Back to our very dark colour.

Very, very dark colour.

Load that brush full of paint,

to a nice sharp chiselled edge.

See, sometimes maybe you just want
to make the indication of trees

that are far away. Watch here.

If you could just take that brush
and tap downward.

Give it a little pull,

and make the indication of trees
that are far away,

that you don't see
a tremendous amount of detail in.

And wherever you think
they should live,

that's exactly where
they are to live.

Look at that. See?

You can make hundreds of trees
that are far away.

That simple.

See, while we've been talking
here, this background

has continued to grow -
the little dots.

Isn't that pretty, though?

And you can make all kinds of
beautiful effects with the clear,

and then just sprinkling
a little thinner on it.

I'm not a very good
portrait painter,

but I'm sure you might be,

and it's a super background
for doing portraits on.

Try that sometime, you'll enjoy it.

OK.

Let's go back here.

I don't want this one
big old tree to get lonely,

so I'm going to give him a friend,

and his friend...

..his friend lives right there.

See, the corner of the brush.

This will give you some practice
with that big brush.

Boy, it's the best tree maker
you ever seen.

Beautiful, beautiful trees.

Beautiful trees.

OK, maybe there's another one lives
right there, wherever you want them.

Wherever.

There we go.

Just tree after tree after tree.

And between each tree,
reload the brush.

Start with a brush that has
a nice sharp edge on it,

and you'll get much better results.

Let that work right on down...

..wherever you want it to go.

Tell you what, maybe there's
another one right there.

See there?

There he is.

There he is.

And we'll put one little one here.

See, you can make little trees
with a large brush too.

Look at that.

That easy.

Now then, we can take the knife.

Take a little bit of
the Dark Sienna.

Least little touch of white
into it, so Dark Sienna and white.

Pull it out.

Cut off that little roll of paint.

Let's go up here.

Now then, let's just put
the indication here and there...

..of a little tree trunk
in some of these trees.

And you're not going to see
the entire trunk.

So, just here and there.

Don't get over-concerned about it.

There we are.

Just drop it in.

And you can scrape through,

just literally scrape
right through the paint.

See? You can probably hear it there.

Make all kind of little sticks
and twigs in there.

This is your world, so you make the
determination of where things live,

and you drop them in
wherever you want to.

OK. Good.

Told you this would be a fun little
painting - and very different.

Same old dirty brush,

going right into the Cad Yellow,

Now, because we had all the blue
and the black in there,

when that touches that yellow,

it's going to turn a beautiful,
beautiful, dark green colour.

Reload the brush back to
the same shape, chiselled edge.

It's very, very sharp.

Look at that.
You could almost shave with that!

OK. Now, come back in here,

and then we're going to just gently
highlight these.

Just using the corner of the brush.

Now, if you have trouble
making the paint stick,

add the least little touch of
paint thinner.

Least a little touch.

A little bit goes a long way.

Because a thin paint
will stick to a thick paint.

There we go. There we go.

Now then, this big old tree here.

And in your painting, you put as
many or a few highlights

as you want -
just sort of look at it,

make a determination,
and drop it in.

Just drop it in.

But if you put too much,
you're going to kill that beautiful

dark colour, and your painting
will get flat.

So be careful.

Be careful.

There we go.

Right on down, wherever.

OK.

Tell you what,
let me grab another brush.

I have several old brushes
going here.

Now, watch right in here.

I'm going to start...

..going to just scrub in
a little bit of colour,

right up to this dark.

Now we're going to begin
creating the lay of the land.

So just scrub it in.

The Liquid Clear is on the canvas.

And the big thing here
is to use almost no paint.

Just virtually no paint, I'm just...

..literally scrubbing it in.

Maybe, maybe the lay of the land
will go this way over here.

We'll have this setting
up on a little hill.

And you decide, in your painting,

you decide how
the lay of the land will go.

We're not trying to
teach you to copy here,

we're trying to teach you
a technique,

and then turn you loose
on the world!

Cos you can do anything
that you want to do.

Anything.

You know, I heard one time
that you can have anything

that you want,

anything that you want,

if you help enough other people
get what they want.

That's all you have to do.

Think about that a little bit.

Now then, with the same brush,

I'm going to begin reaching
up in here,

and I'm going to grab
a little touch of this dark.

Don't add any more colour
to your brush.

Just grab this,
and begin working it outward.

If you need more,
come up in there and get it.

Just tap downward, and let it
begin working outward.

And this is the way we'll make all
different planes in this painting.

Isn't that neat?

And now you can see
how that pushed that area back.

Here we go.

Just sort of let it go.

And you have to determine
how far it goes.

There.

And all I'm doing is just tapping
down, just tapping downward.

Over here, I want to
change the angle.

I want this to look like
you're setting up on a little hill,

as we mentioned earlier.

So that's the way you make
the lay of the land go.

And the more you tap this,
the softer it will become.

See? Just go right up here.

We can create things
happening in here.

Look at that!

Isn't that fantastic?

I really think you'll like
this Liquid Clear.

It is a lot of fun,

and you can do this with any colour,
any colours.

Especially the transparent colours.

And we'll just sort of begin
rounding this off,

by just tapping.

Just by tapping.

And you could go in,

and you can pick up a little bit of
brown, if you want to,

and create different little things.

All kinds of happy little effects.

OK, little bit of the browns,

and maybe even a touch of crimson
here and there.

However, you sort of look at it,

and you make the determination
what you want in your painting.

I knew you could do it.

You can do anything.

We just sort of let that
fade off into nothing.

Let's have some fun.

Let's take the little knife,

and maybe, maybe there's
a fence here.

So a nice way to start here,

let's take the small edge of
the small knife,

and very firmly - very firmly -
I'm going to...

..see there?

Isn't that neat?

And I'm using a lot of pressure.

You have to decide how far back
your little fence will go.

But just by taking the knife
and pulling down very firmly,

you're really getting in there
and digging into the canvas.

Tell you, that was so much fun,
let's do another one.

Maybe right over here.

Very firm.

Can you hear how hard
I'm pushing that?

OK, now let's have some rails
on this fence.

Same thing.

I'm just going to take the small
edge of the knife,

and very firmly...

..just go right up like that.

And perspective wise, let it
bigger out here.

OK, let's do the same thing
over here.

Very firm.

I'm literally bending the knife.

And you can let them get wider
as they get closer to you.

That'll help push everything back.

Let's make this one wider.

Ooh, that's a nice one.

That's a rickety old fence.

Had to fence these trees in,
so they wouldn't get away!

Now then, I'll take my liner brush,

and I'm going to some - oh,
this is Titanium White,

with the least little touch of
brown in it.

Let's go right up here,

and we can come right along,
and just sort of highlight these.

They come right along the top.

Just enough to sort of
bring it together.

Put a little highlight there,

across the top.

Little bit across that fence,

and off you go.

Isn't that sneaky?

I thought you'd like this.

Now then, back to my big brush,

and I just want to tap
the base of these little fences,

just to work them in.

Make it look like -

you pick up a little dark, see,
and go back in here.

Make it look like it's
a little grassy, growing right here

at the bottom of the foots.

There. Little bit over here.

And you can create
some super, super effects.

Shoot, isn't that something?

That's - that's just unreal.

It's very easy, and it's an
extremely enjoyable painting.

I'm going to take a fan brush
and go into some,

oh, a little bit of Van Dyke Brown,

so Dark Sienna.

And I'm going to reach down here,

and dip my brush right into
some Liquid Clear.

So now I'm making this paint
quite thin.

It's quite thin.

You can probably see it looks shiny
there, it's nice and thin.

OK, let's come right out in here,
and now let's get crazy.

Let's just go in here,
and just literally just punch in.

I'm just pushing very hard, making
the bristles bend upward.

See, there?

We're just going to punch in...

..a few little things
here and there.

Just drop them in.

OK, that'll come right on out
like that.

And then I'm going to begin
grabbing them.

Because this paint's thin,
you can do this.

Just with the corner of the brush,

and begin just pulling up
all kinds of little grassy things

here and there.

And I'm going to also add
a touch of Yellow Ochre,

and begin lifting it up
here and there.

Just lift it up, give it a pull.

Lighter, lighter, lighter.

Wherever you want these things
to go, it's really up to you.

It's really up to you.

See there?

And don't have all them all
just straight,

you can pull them so they curve
and they wiggle and they have fun.

This is going to look like
old grassy things growing here.

Lighter, lighter, lighter,
as it works away.

Because there's more shadow in
there, we want to keep that darker.

OK, now we can go back,
pick up our large brush,

and once again, we're going to
grab this and begin tapping.

Just tap.

And allow it to pick up a little bit
of that colour, and work outward.

This will smooth out
the whole base of it.

See there?

Also, once again, it helps create
more planes in your painting.

There we go.

Now, this painting is so simple.

If this is your first attempt
with Liquid Clear

I think you will absolutely love it.

Tell you what, let's do something
a little different.

I normally don't do this,
but I'm going to today.

I'm going to take a little bit of
the Liquid Clear

on the filbert brush,
and I'm going to go right into...

..Titanium White.

I want this paint to be quite thin.

Let me get a little more of
the clear.

It's quite than.

Quite thin. Let's go right up here.

Maybe back in here there lives
a few little...

..little happy daisies. See there?

All you got to do is just pop
them in.

These little daisies are sample.

That's about the easiest little
flower to make.

Even I can make these,
and I'm not a big flower painter.

See? Just pop them in, like so.

And you put as many in
your painting as you want.

Just pop them in.

Pop 'em in.

Here's one right here.

See? We'll have little flowers
all over here.

But you need to keep this paint
very thin.

Now, the other thing that this clear
is so fantastic about,

when this paint dries,
everywhere you put Liquid Clear...

..it will be shiny.

It's almost like a glaze coat.

You'll have a nice glaze to it.

There's one maybe lives right here.

And I tell you, reach over here
and we'll get a little blue.

We'll have some... We'll have some
pretty little blue daisies, too.

It's very thin, very thin.

And there's one.
He lives right there.

Right there.

He's got a friend over here.

This friend's name is Henrietta.

Over here...

..we have another one.

Just as many or as few as you want.

As I say, you have to make
these determinations,

and you put them
wherever you think they should be,

because that's exactly, exactly...

..where that little rascal
should live,

and just sort of look around
and see where you want them.

Isn't that pretty, though?

A little... Just a little
field of daisies out here,

in front of all those trees.

Maybe there's one that
lives right out here.

Just drop 'em in.

Let them just sort of
fall off the brush.

I think...
Yeah, we'll have one right here.

Look at that!

OK, let me wipe off the brush.

Give it a little clean.

This is a number six filbert brush
that I'm using to do this.

You could probably make
these with your liner brush,

without any problem, just as well.

I'm going to go take the filbert
brush and get a little Liquid Clear.

I'll go right at the end,
to a touch of Yellow Ochre.

Just load a little bit in there,

and we'll go back and just touch...

..give it a little bit into some of
these little daisies here.

Give it a little centre.

See there?

However, however many you want.

OK.

Now, let's take our liner brush.

I'm going to dip it
in some paint thinner.

Go right into the brown.

And here and there,

we need to put the indication
of a few little sticks and twigs,

and little grassy things
that grow up through here.

Wherever, and, you know,
you put in a few little stems

to hold your flowers up.

You don't want them to fall over.

See? Little stick here and there.

Isn't that fantastic?

Try this. I think
you'll really enjoy it.

And from all of us here,
until next time,

happy painting, and God bless.