All language subtitles for The Joy of Painting - 1x12 - _track3_[eng]

Hey, welcome back. Certainly glad
you could join me today.

You ready to do another
fantastic painting with me?

Drag out your paints
and let's get started.

We've already got the canvas
up here and we've got it covered

with a nice, thin, even coat of
the liquid white and it's all wet

and it's ready to go, so let's
have them graphically run all the

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

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

Tell you what, let's make
a pretty little sky today.

I'm going to start with
a little touch of Prussian blue...

Prussian blue, black, and the least
little touch of yellow ochre.

Black, blue and a little touch
of yellow ochre.

Let's add a little white to that,
so we can see what we got.

Maybe just a little bit more
of the yellow ochre.

Like that.
Makes a beautiful little colour.

Don't go crazy with
the yellow ochre,

or you'll end up with
a bright green colour.

OK. Wipe off the knife.

Grab a two-inch brush here,

and I'm just going to tap
the two-inch brush

right into that colour.

Just tap it right in there, like so.

OK, let's go right up here.

Let's just take and just
sort of twist in a little sky here.

I'm just using
little circular strokes,

just sort of letting this
bounce around and play. Wherever.

Wherever,
just leave little places open,

but just very quickly,
just using little twirling motions.

Just sort of drop in a happy
little thing here and there,

maybe a little bit down here.

See how quick that goes?

Wherever you want it.

Just make a decision and drop it in.

There we are.

And we just sort of mix it up,
just blend it all together.

And have fun with it.

And while I have that colour
on the old brush,

let's have a little water
in this painting.

So, I'll go right back
in the same corner...

Same colour. Same colour.

Tongue got over my teeth there and
I couldn't see what I was saying.

There we go. Now, let's just pull
this right across.

Straight across.

Like so. And maybe, like here...
I don't know exactly where we'll

have water in this one,
but somewhere...

Somewhere. I love water.

I would put water in just
about everything that I do.

OK.

Now, then, let's wash the brush.

Wash the old brush
in odourless thinner.

Shake it off.

I have a box down here that
I shake the brush into and then...

Just beat the devil out of it!

Now, with a nice clean brush,
we'll go back up in here

and just very quickly just sort of
wind this up and blend it together.

You still have light
and dark areas in the sky,

and that's what I'm looking for.

I don't want a sky that's
just one flat old dead colour.

Now, here, all the way across,
very lightly pull all that together.

See?

Now, just use the same old brush,
right into titanium white.

I'm going to really pull the brush
through the paint,

just get a lot of paint on the
brush. Just go right up here

and decide maybe there's some happy
little clouds that live in the sky.

See?

I don't want real distinct clouds,
I just want some indication,

so I'm just going to... Just push
a little colour right in there.

Maybe... Yeah. Maybe right here,
there's a nice cloud that just...

He floats around
and has fun all day.

To me, clouds...

Clouds could very well be
the freest thing in nature,

and when you're painting them, paint
them that way, just let them go.

Let them have fun.

Let them have fun.

OK. Now, then...
I'll wash the brush.

I just like to wash the brush.

Shake it off.

And I just...
I just covered the studio again.

Now, then, just very lightly,
all I'm going to do is just

sort of blend these. I don't want
to blend these all away.

I just want to sort of blend them,
lift them here and there.

Lightly, lightly, lightly.

Don't want to lose all these little
actions that we've created.

Isn't that a fantastic way to make
a super little sky in just a second?

OK.

Today, let's try...
Let's try a round brush.

And I'm going to go
right into the same colour...

Same colour that we made the sky
with, just tap the brush.

Tap it. Maybe I'll add a touch
more of the black.

OK? Just tap.
Let's go right up here.

I want to make some little
background trees that are far,

far away.
So, I'll start right in here

and just begin tapping
in some very basic shapes.

All we're looking for is just
general shapes.

We're not looking for detail.

All we want is just very,

very basic shapes.

And you put as many
or as few as you want in yours.

Just sort of drop them in.

And with that same colour,
I'm pushing downward now.

I want to drop some of that colour
right into the water.

Look at that.

That'll end up being
our happy little reflections.

Without cleaning the brush, I want
to add a touch of yellow ochre

and just come right around,

and I just want to put the tiniest
bit of highlight here and there.

Don't overdo.

This is too far away,
a little Indian yellow.

Too far away.

Don't want much.

Just to create the illusion
of individual bushes here and there.

You could even add the least little
touch of the bright red. Not much!

Very little.

Very little. Just... Just enough
to sort of make them stand out.

This little round brush makes
some of the most super delicate

little leaves.

And you're just using the top
of the brush, just the top bristles.

Over here,
maybe a few little happy things.

There they are.

OK.

See there? Wasn't that easy? Now,
let's make some reflections here.

Let's grab right here
and pull straight down.

It's important
that you pull straight down.

Straight down. And look at that.

Look at that! Instant reflections.
I used to go crazy trying

to do reflections
when I was a traditional painter.

I'd turn the canvas upside down,
just worked myself to death,

and now, you just give it a little
downward pull and off you go.

Going back into
that same old colour,

into that I'm going to add a little
bit of Van Dyke brown.

Same colour.

Same colour. Little
bit of Van Dyke brown added to it.

And go right in here
and just tap in...

Just a happy little thing like this.

These little things
just create plains,

different layers of depth
in the painting.

And they just really
make your painting exciting.

When people look at it,
they just won't believe

the number of different plains
that you have in it.

There, pull straight down.

Once again, see, that creates
a reflection, go lightly across.

And look at that.

Now, with the knife, run
into a touch of the liquid white,

just a touch, pull it out very flat,
and cut across. Pull it out...

Let's do that again.
Pull it out and cut across,

so there's just a little
bit on the knife. Flat, across.

OK. Let's go right up here.

Now, them, I want to put some water
lines back in here.

This does two things. It's a little
light area between the darks

and it cleans up
the bottoms at the same time.

And you can sort of bring everything
together, just like so.

And you can make them...

Some big, some little, just rub them
very firmly. Very firmly.

See how it's already creating
different levels and layers?

See? There's one right here.
Look at the...

Look at the distance you can create,
just with these little water lines.

They're sneaky. A lot of fun to use.

There we go.

Now, you can take just the clean
point of the knife and,

here and there, just scrape
in the indication of a little...

A little trunk, little stick,
twig, here and there.

Just however you want to. OK. Good.

The round brush is so much fun.
Let's go back to it.

I'm going to take... Let's go into
Van Dyke brown, reach over here

and we'll pick up some black.

A little touch of blue,
not much blue.

OK. Let's go right back up here.

Now, maybe we can begin building
things forward. I want to...

Yeah, right here.

I want just a happy little tree that
lives here, but maybe this tree...

Maybe this tree's closer to us,
so he's bigger.

He's a bigger tree, he's stronger.

He may be no bigger than these,
but he's closer to us, so that...

That makes him look bigger.

OK. And needless to say, we'll want
a reflection in the water.

So let's just do that
while we have the colour on here.

And at this point, you don't have
to make any big decision on where...

Got a hair there. ..on where the
reflection and the real thing meet.

We do that later. Right now,
all we're doing is adding in colour.

All right.

Put a touch of crimson into that.

Crimson and black.

A little touch of blue. And just
tap. Tap that brush firmly. OK?

Maybe on the other side here...

Shoot, while we got
this little brush going...

Let's drop in... Notice, I start
at the bottom and work up.

That way, the tree or the bush,
whatever you're making here,

is darker at the bottom
than it is on the top

and that's the way it would be
if you went out and looked at a tree

because more light's going
to come through here.

Down here, there's all kind
of undergrowth and there's

a lot of things that would stop the
light and create deep, dark shadows.

Real dark shadows.

And so you start here,
and as your brush runs out of paint,

you just go up, up, up.

And all we're looking for here
is just the basic shape,

we're not worried about detail

at this point.
We'll worry about that in a minute.

Some crimson, some black
and a little touch of blue.

Maybe right in here, I'm going

to mess around
and cover this whole thing up.

But that's OK.

As long as...

As long as you have fun and you
learn from it, nothing is wasted.

Any time that you practise,
it's not wasted.

If you're going to be good
at anything, you have to practise.

That's the price you have to pay.

There we go.

OK. Let me find my liner brush.
We'll use the old liner brush today.

Go into some thinner
and right into my Van Dyke brown.

Now, I want to make
this paint very thin.

The consistency of ink.

Turn the brush, that brings it to
a nice sharp point. Turn it...

OK, let's go up here.

Let's have a happy tree trunk
right in there.

Like so.

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

We're going to put leaves on this,
so a lot of it's going to get

covered up. So, you don't
have to worry too much about it.

We'll go right onto
the other side here.

Let me get a little more thinner.

Got to keep this paint very thin, so
it literally flows off your brush.

Can add some dark sienna to that.

A little more thinner.

A little more thinner, there we go.

Paint is literally like water.

Maybe, maybe, maybe...

Let's put one
that goes right up there.

And one of the questions that
I'm asked over and over is do you

start at the bottom and work up,
or the top and work down?

Doesn't matter.

You do it whichever way works
the best for you. Try both ways.

And for some people,
you'll find one way works good.

Some people find the other way.

You can
start out here on the small part

and bring it in towards the trunk.

Or you can start at the trunk

and work out.

Just however.

You do it the way
that works the best for you.

There are really no set rules.

You find what works for you,
and that's the way that's right.

That's the way that's right. If it
makes you happy, then it's good.

If it doesn't make you happy,
ooh, bad news!

OK, maybe... There.

And you can put as many or as few
of these little limbs and branches

out here as you want, but the big
thing is keep your paint very thin.

Very thin.

If it's thick, it won't flow

and you'll work yourself to death
trying to get it off that brush.

Keep it thin.

Add a little more thinner there.

We'll have another little stick
that lives right here.

See? You can just put
as many in there as you want.

And just wherever.

And a lot of these little sticks
help create interesting

things that are happening
in the painting that are very nice.

Very nice.

I tell you what,
let's take the old two-inch brush...

So often, we avoid this big brush.

I'm going to add a little brown
to it, dark sienna, just...

I want to put a little
colour in the bristles.

Then I'm going to go right down
here...to the yellow.

Right to the yellow.
Only reason I put that

brown in there is just to keep this
yellow dulled down some.

Tap. I'm tapping very firmly.
Very firmly.

I'm going to reach over here
and grab a little sap green,

throw in there too, what the heck!

Sap green, the yellow, yellow ochre.
Grab some Indian yellow.

OK, let's go right up here.

Now, then, I want to begin putting
leaves out here on this

beautiful little tree.

Take the corner of the brush
and just tap. Just tap.

Now, work with patterns
and shapes here.

Just don't throw these on at random.
Think about...

There's a limb and it holds them up.

Put your darker colour on,
just like so.

See?
Just work in little patterns here.

Don't just throw them in at random.

I know sometimes it
looks like there's no thought that

goes into this, it...

They're just dropped on.

But each... Each little bush
and each tree is an individual.

He has his own personality.

Like people.

They're different, they're unique.

You have some that are big,
some that are small.

Tall and skinny ones, fat ones.

They're just like people.

There. See?
Just layer after layer after layer.

And the more layers you have...

Once again, I know you get
tired of hearing me say it,

the more depth you'll have
in your painting.

And to me, depth is very,
very important.

I'm going to put a touch, just a
touch, of the bright red with that.

And just add something right
in there, just a happy little bush.

OK. I'm going to grab another brush.
I have several of each brush going,

so I don't have to spend
all my time washing brushes.

And we'll pull straight down here.

This is where you have to make
the big decision.

Pull straight down
and then go across.

Isn't that fantastic?
Instant reflections.

That easy.

That easy.

OK.

Now, back into the cad yellow.

Using the same old dirty brush.

Now, then, I'm going to go over on
this side and begin just dropping in

the indication here and there
of all kinds of little green things,

little bushes, little trees.

We don't have to define exactly
what all of them are.

They're just pretty.

All kinds of little bushes.

But just the corner of the two-inch
brush. That's all you're using.

See? All the yellows,
a little touch of red.

All kinds of little things,
just let them happen.

I'm going to grab some
Alizarin crimson on the same brush.

Shoot, might as well get cra...
Let's go right up in here.

And we'll put a few little
things right in here.

Right in here.

Touch it.

See? Just whole different colours,
just let them vary back and forth.

Shoot, we can hit some greens and...

There. Jack Frost has touched
some of these, it looks like.

You're getting all of these
beautiful little colours

and shapes. Sometimes on one tree,
you can have a multitude of colours.

Just an unreal... Unreal.

There's a few little things,
just lives right out there.

Like that.

See?

OK.

That'll give you an idea of how you
can make some super little things.

Now, let's take...
Let's take some Van Dyke brown here.

Pull that paint out, very flat.

Flat as you can get it.

Cut across.

Small roll of paint, right on the
edge of the knife. Let's go up here.

Now, then, maybe there's
some land that lives here.

Just let that knife sort of bounce
along and touch and play

and you can make this quite thick.

Quite thick.

Like so.

See there?

Isn't that super?

And we take some dark sienna,
a little Van Dyke brown

and white and then just let that
sort of bounce along here.

And that will come right along
and just put highlights all over it,

make it look like little stones
and dirt.

All kinds of little things.

Now, with a fan brush,
we can come right back.

We want to bring some grassy
things down here,

so I'll just take a fan brush and
load it full of the various colours,

the yellows, the greens,
and all of those colours,

load it quite full of paint.

OK? Let's go up here.

Now, take the corner
and just push upward.

Just push upward.

It'll make it look like little
grassy areas that are just

flowing right down, add a little
more Sap Green to that.

Now, if you have trouble making it
stick, add a little tiny,

tiny bit of paint thinner
to your brush.

See all the little things?

And it kills those harsh edges,
brings everything together.

Now, then...

Back to our liquid white,
on the knife, and go right in here.

See there?
Put us in some little water lines.

And just let them
come right around here.

This, once again, is where you clean
up the bottom of that,

bring it all together.

Maybe there's a couple of them
out in here.

And with the point of the knife,
you can go in here,

drop in a few little sticks
and twigs.

These, too,
help create different plains

and create the illusion of distance.

There we go.

Good. That's coming right along.

Let's go back into our Van Dyke
brown and let's have some fun today.

Maybe... Let's do something...

Maybe there's a little waterfall
that comes down here.

So, if there is, watch here,
let's put some brown in here.

Got to have something
to contain that water.

It comes right out... Bloop.

Van Dyke brown, a little... Yeah,
there's a little dark sienna in it.

Whatever happens, whatever...
Look at that.

Just right on down.
Maybe there's some dirt out here.

Wherever, wherever, wherever.

You can do anything
on this canvas. Anything.

OK, the paint is quite thick
and it's quite rough at this point.

Shoot, let's just keep going,
that's fun.

Maybe, waterfall...
We'll put it right in there.

So, we'll bring this down.

Right over, like so.

Just like so.

And this...

This, you could put on with
a paint roller, it's no big deal.

I'm just putting
a lot of colour in here.

Just like so.

Just like so.

Thick paint. Very thick.

Very thick.

Now, then...

Now, we have...

I have white, titanium white,
a little touch of the blue,

some of the dark sienna, a little
touch of the Van Dyke brown.

But none of it's overmixed.
Let's leave it very rough.

Now, I want to just sort of bounce
this along. Just let it bounce.

Let it bounce.

Don't drag it straight.
Let it bounce. Get rough.

Get nervous.

If you get a little twitch,
you're ahead of the game right here.

I've had people in class tell me
that their hand shakes

and they can't do this.

Shoot, you've got an advantage!
Use it!

Use it.

Speaking of classes, I get
hundreds of letters wanting to know

if we teach classes. I don't do
too much teaching any more.

We have teachers that
we send all over the country,

and they'll come here and teach.
My son, Steve, is one of those...

The old man gets lazy, he sends them
out and I stay at home.

Now, then, we were going to have
a little waterfall in there.

A little bit of the liquid white.

Titanium white. Going to reach up
here and grab a little bit of blue.

Just mix it all together.

Let's go right up here.

Maybe this water just
comes right down through here.

Just let it bounce right over.
There it comes.

There it comes, right on down.

And then, zoom!

See? Just a little waterfall,
like so.

Just got to let that fall over.

There.

Now, I'll take the little knife
and I'm going to take just

a little touch of the white paint
and sort of let it skip along here.

See, it makes it look like water.
Just barely, barely, barely...

Zipping right over.

And with the fan brush,
we can go right out here and just

sort of clean up the bottom and let
it pick up some of that colour.

And work right on out here.

A few little splashes here
and there.

Right on out.

Let's have some fun,
let's get crazy.

Take a big bunch of the
Van Dyke brown... Big bunch.

In my mind, I want a tree...
Zo-o-o-om!

..that lives right there.

Big tree.

Boy, he IS a big tree!

Big old tree.

Let's give him an arm here.

And he's got an arm
that lives right there.

And I'll take
some of the highlight colour

and just let it flow right down.

Look at there. See there?

Mm!

We'll take a little touch of green
and we just put a little

bit of grass areas
all down here by his little foot.

Like so. Here and there.

See, that sort of pushes
that waterfall back in there.

And with a little brown,

maybe there's a nice tree
that lives right here.

And drop a few little
highlights on there.

That easy. This old round brush
is something else.

Just a few little highlights
here and there.

That helps push that
waterfall back here.

Pull this down a little.

There. See?

Makes it look like rocks, there.

OK. Now, it's time to get crazy.

Time to get crazy.

Maybe there's some light
that streams through here

and back in here,
we have some nice bright leaves.

Add a little white to that.

See?
Makes these just sparkle back here.

They're hanging down
on the other side of the tree.

I should have done that first.
Now, I got to go back...

There, that'll push them
onto the other side.

Let's take some sap green
and a little brown,

load it onto the big brush,
and let's put an indication of all

kinds of nice leaves and stuff
that hang way over like this.

There they come.

Just as many or as few as you want.

Wherever you think they should live,

that's exactly where they belong.

OK.

There they go.

Great big old tree. Mm!

And you're saying,
after you did all that work,

then you go in there and mess it up!
I think you'll like it.

I'm going to add a little
paint thinner to my brush

and go right into some green
and some yellow ochre.

Load a lot of paint
into the bristles, a lot of paint.

Let's go up here and then
we can begin just tapping in some

highlights, don't overdo,
keep this quite dark.

It makes it very nice.

See there?

All kinds of little things.

Just like so.

And you could go in here and drop
in a few little limbs and stuff

and really make this look
like a beautiful, beautiful tree.

The old clock on the wall
is telling me

it's time to leave you
for this week.

So I'm going to call this painting
finished. And from all of us

here, happy painting, God bless.