All language subtitles for The Joy of Painting - 1x26 - _track3_[eng]

Hi. I'm glad you could join me
today.

Are you ready to do another
fantastic little painting?

Hope you have your easel out
and your paints all spread out

and a big glass of iced tea,
and you're ready.

Tell you what, let's start
and have them run all the colours

across the screen that you need
to paint along with me.

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

I've got my canvas up, I have it
all covered with liquid white,

and it's all ready to go.

So let's go.

I thought we'd do a happy
little painting today.

I'm going to start, I'll just take
a little touch of yellow ochre.

Just the least little
touch on the two-inch brush -

just tap the brush into a small
amount of colour. OK?

Maybe, maybe we'll have a
nice bright little spot up

here in the sky.

I'm just using little
crisscross strokes.

Just laying a little colour here.

Very, very little paint
on the brush. Very little paint.

Maybe I'll take just a small amount
of cad yellow, cadmium yellow.

And just sort of lay
a little of that in here - whatever.

Whatever. Just make a happy
little painting today.

It's such a fantastic,
nice, good day.

Let's make a painting
that reflects that.

OK. Now then. Let's wash the brush.

We wash our brushes with odourless
thinner. Shake out the excess.

HE LAUGHS

And beat the devil out of it!

OK. I'm going to take
alizarin crimson.

Just go into a touch of alizarin
crimson. Reach right over here.

I'll be right back, right back. A
little bit of phthalo blue with it.

You just mix these on the brush.
I'm looking for a lavender colour.

And by mixing these
colours on the brush, you'll get all

different variations of lavender -
it just won't be one dead colour.

Let's go up here.

Now, maybe right in here, still
using little crisscross strokes.

I may add a touch more blue to that,
a little bit of blue. That's better.

I like that better. There. Just
using little crisscross strokes.

Just begin laying in some more sky.

Just like so.

And this colour is
so much stronger than the yellow,

it'll go right over the top of it.

But be careful. Be careful, it'll
eat up all your bright spot here.

It'll just absolutely eat it up.
There.

OK.
And wherever you want this to go.

Tell you what, maybe a little more
right over on this side, too.

Don't want to leave him out.

OK.

OK, now, while I have this old brush
dirty, tell you what,

tell you what.

I'm going to take a little bit
of crimson and put it right here.

A little warm spot. Mm.

Now then. Same old brush.

I'm going to go right back
into some phthalo blue.

Just tap the bristles
into some colour.

And let's go right back up here.

Have some water in this painting
today, I think. I like water.

Water's always
so pleasant in a painting.

I don't know exactly
where it's going to be,

so we'll just put it everywhere.

Anything that you don't want,

we'll cover up with bushes or trees
or land or...whatever happens.

Shoot, who knows, who knows?

That's what makes it so much fun.

We don't use any patterns
or we don't do any sketching.

We just sort of let this happen,
just let it happen.

OK.
I have several brushes going here.

Get another nice clean
two-inch brush.

And I'm going to go right up here
and blend the sky.

I want to blend these colours
together,

still using the little
crisscross strokes.

Start in the light area,
and work toward the dark area.

If you start in a dark area
and work toward the light area, it's

going to consume this entire light
area,

and we don't want to lose that.

That's going to be our
bright spot in the sky.

Don't want to lose it.

So start in the light area
and work outward.

And you can blend this till it's
so smooth and so soft. There.

OK, now very lightly,
using long strokes,

we'll just go all the way across it.

And sort of step back and take a
look-see at it when you're at home,

to see if it's blended
as soft as you want it.

Coming down here,
we just go all the way across

to smooth this out a little bit.

And that's all we need.

Tell you what, let's build,

let's build us a little mountain
today.

For that,
I'll take a little midnight black,

a little midnight black,
a little Prussian blue.

Throw some Van Dyke brown in there,
a little crimson - whatever.

Whatever.

Good dark colours.

OK. Pull the paint out
as flat as you can get it.

Take the knife.

There.

Take the knife and just cut across
so you have a little roll of paint

right out on the edge of the knife.
OK?

Now then,
let's come right up in here

and decide where you want
your mountain to live.

Maybe your mountain - it does now -

lives right here. And all
we're doing is just putting in

a basic shape, and you're only
worried about the nice outside edge.

You could care less what's
happening on the inside.

All we're doing is just,
just getting our outside shape

laid in. That's all we're doing, all
we're doing, don't worry about it.

Enjoy.

And you can have this old mountain
go wherever you want it.

Maybe right on out there.

OK?

Now then.

Take another brush, an old two-inch
brush,

and I want to pull this paint.

Because the liquid white's
on the canvas, the paint will move.

It will literally move.

There.

And you can really make some
fantastic mountains so simple.

There we go.

We want the bottom of the mountain,

the base of the mountain,
to just be blended out very soft

so it looks like it's just
floating around, having fun all day.

That easy, we got a little mountain.

OK? Let's put some highlights
on that mountain.

For that, I'm going to take titanium
white

and the least little touch
of bright red.

You need very little,
very little of the red.

Very little.

So strong.

Pull the paint out just like before,
as flat as you can get it,

and cut across.

Have that little roll of paint
right out on the edge, OK?

Now then, you have to start
making some big decisions here.

Maybe right here there's a little
highlight, like so.

Just sort of look at your mountain

and decide where you want
these things to live.

Wherever you want them,
that's where they should be.

Maybe that comes, yep,
right down like that.

Just let it,
just let it flow right down.

No pressure.
Absolutely no pressure.

This is the most delicate
touch imaginable.

Most delicate touch.

There, see?

Just wherever you want it.

I'll tell you what you can do.
I'll show you something that's fun.

Let's take a little dark sienna and
I'll put some bright red with it.

A little bit of white,

I'll mix up a colour, oh, like so.

Now, take a little bit of that.

And I'm just going to sort of

just lay it here and there.

I want to make it look like
maybe there's not as much snow

down at the base down here,
maybe it's a little warmer.

Maybe, maybe it's fall,
or fixing to be fall

and the snow's
creeping down the mountain.

In Alaska,
they say the hawk is coming.

The hawk is coming.

Every day, we used to watch
the mountains

and the snow would creep
down, down, down.

When it got down toward the bottom,
you'd better have your big coat out.

Because it was on the verge
of getting cold.

There.

Maybe... Watch here, see? You can
just bring those two right together.

You have unlimited power here,
you can do anything.

Anything.

I'm going to get the small knife
and let's do some shadows over here.

I like to use a small knife.

Let's take a little bit of...
A little bit of Prussian blue

and put some white with it, and
I'm going to make several different

values here, each one getting
lighter, lighter, darker, see?

Dark, light, lightest.

So, now we can take the different
values of blue here

and begin dropping in
all kinds of little shadow areas.

Every once and awhile,
a little bit of dark sienna.

A little dark sienna here and there.

Put it in, just let it go.

See? Zoom!

You've got to make those little
noises or it doesn't work.

And you can make some of the
most beautiful little shadows.

You can take your same mountain
colour here and there

and draw back in some dark areas
to create some nice, deep shadows,

wherever you think they should be.

All kinds of little things.

Maybe a little light
strikes right there.

No pressure, though.
Absolutely no pressure.

Just let it go.

OK?

Now then, back to our highlight
colour, and let's take this.

And maybe there's all
kind of projections in here.

We don't want it just straight.

All kinds of big, ragged things
happening here.

This is a rough old mountain.

It's had a wild life.

Big, strong mountain.

Just sort of make up little
stories when you're painting.

Let these little things
just happen in your mind.

That's what makes it fun.

Now then, we can come back in here
with some of the darker colours

and some of the shadow colours

and begin putting in all kinds
of little individual things.

See these peaks,
all these little peaks?

They need shadows behind them
so they stand out as individuals.

There, give them
some little shadows.

But you can create some of the most
fantastic mountains that you've ever

seen and they're quite, quite easy
when you're using a big old knife.

You wouldn't believe
what you could paint with it,

but you have to make friends
with it.

Spend some time with it.

There.

And maybe here and there

we'll just put the indication
of a little highlight,

a little shadow up in here.

OK?

Now then, clean, dry,
two-inch brush,

and I just want to tap
the base of this.

Just tap it. I want to create
the illusion of mist.

Tap and lift upward.

Always follow the angles that
you have in the mountains.

There we go. Over here,
follow these angles.

See? You can bring it all together.

Makes a super little mountain.

OK. It's time to move forward
in this painting.

I'll take that same old mountain
colour, blue and black.

Van Dyke brown. Oh, some crimson,

a little sap green. Whatever.

I'm looking for a
good dark colour here.

I'll take a little bit of it out and
to that I'm going to add some white.

There. So it's a very...
It's still a dark colour

but not as dark as that.

We'll clean the knife here.

I'll just use this old two-inch
brush here - you could use

the one-inch brush or
two-inch brush, whatever.

We'll just start with it.
Tap a little colour into it.

And maybe lives right here...

..some little trees.

They're way back in the background
here.

There they go. See them?

OK. And it goes right on up whatever
you want. You just sort of make

a decision in your mind where you
think these things should live

and drop them in. It's that easy.

You can do it.

You can do anything.

Now then, while I have
that colour on the brush,

I'll throw a little bit
right in there.

Like so.

Now, grab the bottom of this

and pull it down and we'll have
some instant reflections.

Instant reflections.

Then go across. OK?

Let's use the one-inch brush today.

Go right into some of the yellows
and we'll reach up here

and grab some black.

Black and yellow makes
a beautiful green.

Some yellow ochre, Indian yellow.

Just tap, tap the brush
firmly into the paint.

OK? Let's go back up here now.

Now I want to just begin putting
the indication of some nice

little highlights on these
little trees that are back here.

Just drop them in.

There.

All you're doing is just tapping.

But pay attention
to shape and to form,

don't just throw them at random.

Sort of look at your bush and shape
your tree, and make friends with it.

There we go. See?

Just layer after layer,
little bush after bush.

And as many or as few as you want.

Maybe there's another one
lives right here.

Now, watch right here.

All you've got to do...
Let's create a little land here.

All you've got to do
is just begin tapping,

but follow the lay of the land.

If you want the land to look like
it flows this way,

then make your brush go that way.

See there?

It looks like very soft,
smooth little grassy areas

way back here in the distance.

Mm.

That's the way.

You can do it, you can do it.

OK. Now then,
we can take our brush,

grab just a touch of that,
pull it straight down,

then we can reflect some
of that colour right into the water.

Right into the water.

I'm going to take a little touch
of the liquid white,

put it on the palette, pull it out
as flat as I can get it.

Just really pull it out very flat
and cut across -

that's all there is to it.

Just cut across it
and then go right up here.

Act like you're trying to
saw a hole right in the canvas.

Just absolutely cut a hole
in the canvas.

There we go.

OK.

That gives us just a happy
little water line,

and you can put a ripple or two
here.

Depends on your mood.

If you want a ripple there,
then there ought to be one there.

OK, grab this old big brush again.

I'm going back into
that dark colour I had.

Now we have to begin making some
big decisions about our painting.

Maybe...

I'll tell you what,
maybe right here...there lives...

There lives a big, strong tree
right here.

Maybe there are several trees,
I don't know.

All you have to do
is just tap them in.

There's not a great deal of paint
on the brush.

And I'm tapping quite firmly,
and sort of with the...

I think you can see that - sort of
with the corner of the brush,

and bend it down like that, OK?

Maybe there's a big limb
that hangs out over here.

Now then, I've added
a little bit of dark sienna.

Just a tiny bit to begin warming up
and lightening that colour

as it gets toward the top.

You can add a little touch
of yellow ochre.

There's another tree.

I knew there was one hiding in
there, I just had to pull him out.

See? Just bring him out.

Now then, add a little
of the yellow ochre.

A little more,
right on the same brush.

And I just want to
put the indication here

of some little light areas,
some light patterns.

We're painting the back
of the tree now.

We'll come back and do the middle
of the tree, which is the trunk,

and the front of the tree, which is
all the bright highlights.

Just sort of do it step at a time,
step at a time.

Think like a tree.

There you go.

Tell you what, let me grab
another one-inch brush,

let's have some fun. We'll take
that same old dark colour.

Same old dark colour.

Got to load this brush up
with a lot of paint.

OK, let's go right up here.

Maybe there's a nice tree that lives
- sure does now - right there.

Now we just push this one
right out of the brush.

Push, bend the bristles -
don't let them slide.

Don't let them slide.

If they slide,
it'll look like sawgrass.

Sawgrass grows in the water -
just big long stringy things -

we don't want that.

We don't want that, we want some
nice-looking things going on there.

Back into my dark colour, the
browns and the black and the blue

and the sap green.

Tell you what,
let's have another little tree.

And he lives right about here.

He lives right in front of that one.

Put him in there.

And however tall
you think he should be.

There.

And another one here.

Whatever, wherever.

Maybe there's a little peninsula
that comes out there.

Just sort of make up little ideas
in your mind and drop them in.

Now, if that's a peninsula,

we need to have a little
reflection under it,

so by pulling down, going across,

that'll create our reflection.

Shoot, I'll tell you what, maybe
this looks like a natural place

here, we'll just bring
this right on across.

Still using the same colours.

All we're doing is putting in
dark colour for the base.

We need dark in order to show light.

And we're just blocking in
right now.

Just blocking it all in.

There.

Wherever you want it.

You know, it's hard for me
to believe there's,

when we finish this series, there's
going to be somewhere between, oh,

150 or 160 Joy Of Painting shows.

That's unreal to me.

It's fantastic.

And there's a lot of super people
that put a lot of work

into making this happen.

It's not done just by coming up here
and painting a little picture.

There's a lot of people here
in the studio that work very hard

to bring you a nice production.

They really do a good job.

And there's a lot of people that
you never see that support me.

I have fantastic partners

by the name of
Annette and Walt Kowalski,

and they've been with me
for a long time.

And they, along with my wife Jane,

shoot, they make this thing
work for us.

Super people, and I thank
everybody that helps.

But most of all, I thank you for
allowing us to come into your homes

each week, and we enjoy that.

Hope you do, too.

There, see?

Just all kinds of little things
here, wherever you want them.

Now then, let's take
our good old fan brush.

There we go.

Go right into some Van Dyke brown.

Load the brush full of paint.

Load it full of paint.

And let's go up here,

and let's begin putting in
some tree trunks back in here.

And there are some trees back here
in the background.

We don't know how many,
exactly where they're at.

You might not see the entire trunk.

Just here and there,
here and there.

And we'll have some trunks
up here in this one.

Maybe over here there are some
little tiny things happening.

Whenever you want them.

Whenever you want them.

We take our liner brush,
put a little brown on it,

with paint thinner to make it thin,
and just here and there,

just here and there,

put the indication of
a little tree limb or two.

Just wherever you think.

Most of these will be covered up,
but a few of them will show through,

and it makes it look like
you really worked hard

to get all these in there.

There.

Now then, I'll tell you what.

You know me, I like old big trees.

Maybe there's a big tree
out here in the front.

Schoom, comes down in there.

Let's take a little brown and
a little white...on the knife here,

and we'll just put a little touch
of highlight on that tree,

make him shine.

There we go.

Shoot, while I got that colour,

add a little touch over here, too.

Don't want this one left out.

There.

Now we can begin putting in
all the little pretty things here.

Take my little one-inch brush

and just begin deciding
where the highlights are.

Now, if you have trouble
making your paint stick,

add the least little touch
of paint thinner to your brush.

Takes a very, very small amount.

Very small amount.

OK, back in here.

Got to have some on
this little rascal.

Don't want him left out.

Like so.

This was a little bush right there.

Mm, look at him just shine up here.

Let him shine.

You know, one thing
I would like to say,

here in I think it was
the seventh series,

we had one of the most
fantastic painters on this show,

in my opinion, that's lived
in the last century,

by the name of Ben Stahl.

And we were blessed
by the fact that Ben came here

and he painted with me,
which was truly an honour

to paint with a man
of such a calibre.

He really was fantastic.

And just recently, Ben passed away,

and I'd just like to pay tribute
to one of the finest artists

that I have ever known, and,
in my opinion, has ever lived.

And probably one of the best
ways to do that is...

I remember what Norman Rockwell
said about Ben Stahl.

He once said that...

He once said that,
"We are but illustrators,

"Ben Stahl is among the masters."

And Ben now, now he truly is
among the masters.

OK, just dropping all kinds
of little things here.

There.

You're just working layers,
layer after layer after layer.

I'm going to pick up
a little touch of the -

ooh, nice - of the bright red,

put a little sparkle in that rascal.

Think where the light would strike
out here.

OK, just whatever you want it.

Just layer after layer.

It's important, though,
that you create these layers.

It creates depth in your painting,
distance.

Makes all those nice, dark areas

that all the little squirrels
and stuff hide in.

Let's go up here.

This old big tree.

We need...

We need to put some nice,
shiny leaves out on him.

Don't want him left out.

Don't want him left out.

And sort of work in
patterns and layers,

creating the individual effects
on your tree.

See there? Mm. Big old strong tree.

OK, I'll tell you what.

Very quickly here,
put in a little bit of land area,

and then we'll have
a finished painting.

Decide where your land is,
use a little brown.

Just drop it in. See there?

A little touch of highlight.

Shoot, you got a painting that
you should be very pleased with.

Little bit of the liquid white,
cut you in a little water line,

and your painting, and mine,
will be done.

Tell you what, I'm going to
call that one finished,

and from all of us here,
happy painting, and God bless.