All language subtitles for The Joy of Painting - 2x14 - _track3_[eng]

Hello, welcome back.
I'm glad you could join me today.

You ready to do a fantastic
painting with me? All right.

Well, let's start off and
have them graphically run all

the colours across the screen that
you need to paint along with me,

and they'll start with the titanium
white and go all the way round.

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

Now, I've already covered the canvas

with a nice, thin,
even coat of liquid white.

It's slick and wet and ready to go.

So let's start.

Take a little bit of
the midnight black.

Mix it with a little Thalo blue.

I'm just going to mix it
right on the brush.

Just right on the brush, see?

Just literally tap that brush
in there.

OK, let's go up here.

Now, very lightly, we're just barely
going to stroke the canvas.

Just going to stroke the canvas.

I think today we'll do
a beautiful little sky.

I like bright, shiny little skies.

I'm going to put a little more black
in there.

There, that's better.

That's better.

See here, and I'm sort of creating
a little downward angle.

Very lightly,
as we work down in the sky,

I want it to get lighter
and lighter in colour.

So if you start at the top,

when you have the most paint
on your brush and work downward,

automatically, it will mix with the
liquid white, and that will happen.

There we go.
Little touch right in there.

See how it's getting lighter
and lighter?

Because I'm running out of paint.

There.

OK. Down to about there.

And maybe in this particular
painting,

maybe we'll have a tiny bit of
water.

So while I'm going here, just leave
that colour on the brush,

and I'll add
a small amount of Thalo green.

Let me repeat that - small amount.

It is so strong.

It will turn your whole world green
in a heartbeat.

Just go up here.

Maybe the water'll live right here.

So we'll take and go across.

Now, normally, if water is still,
it's flat.

It's level, so try to keep
your strokes pretty straight.

You don't want your water
to run off on the floor.

There.

OK.

Isn't that easy?

We have the indication of water.

All right, let's wash the brush.

And I have odourless
paint thinner in my can here,

and there's a screen in the bottom
of the can

that I scrub the brush against.

That removes the paint.

Then we'll shake off the excess -
like so.

And we just covered
the whole studio!

All righty. Now into the sky
I'm going to begin playing a little

bit of colour,
so let's mix a lavender.

We'll use some Alizarin crimson
and a little bit of the blue.

A little Thalo blue.
Much, much more crimson than blue.

Blue's many times stronger.

There. Just mix it up, OK?

Wipe off my knife.

Now, with the same brush, I'm going
to go right into that,

and let's begin just going
right up here,

and I want a layer, just a hint, of
this nice reddish, lavender colour.

Just like so.

Just let it sort of play
right up into that.

We're going to put a little
yellow in the sky too.

This acts as a barrier.

It keeps the yellow from hitting
the blue and the black.

There.

Sneaky, huh?

There we go.

Just very gently,

we're just caressing the canvas
with the brush sideways.

All right.
Maybe a little touch in here.

See, they're very soft right down
in here, very soft.

Then we go right into a little
bit of the bright red.

The tiniest, tiniest little bit.

Just - oh, graze it a little bit.

A little bit. Little bit. OK?

Now here and there,
just, just to warm it up,

a little bit of that.

Just here and there.

Don't overkill with this.

It's a very strong colour.

Without washing the brush,

we'll go into a little bit
of the Indian yellow,

and I'm just going to tap
that right into the brush.

Just go right back up here.

Now very lightly...

..just still caressing the canvas,

just begin laying in a hint
here and there.

Once again, don't overkill.

We want this to be a very colourful,
but very soft sky.

This is a sky that should
make you happy.

Should bring good feelings to you.

A lot of times, if you're
interested in selling paintings,

of course we're not interested
in monetary gains,

but if you should be,

a lot of times paintings sell
as much for colour, as for content.

And these kind of colours
will certainly brighten up a room,

and they make people happy
when they come in.

So let's go right up here now.

I have a clean, dry brush,

and I'm just going to just take
and blend all of this together.

Just use this little two inch brush,
and just bring it all together.

Just like so.

See?

Now, that yellow is working
quite well in the sky,

without turning bright green,

because we have that barrier
of a lavender colour in there.

And you can blend this to any degree
of softness that you want.

Or you could leave it quite bright
and quite striking.

You have to make...
you have to make these big decisions

when you create worlds of your own.

OK.

That quick, we have
a happy little sky.

Pretty little sky.

All right.
We'll lay that brush down,

and maybe right back in here
we'll have some little...

let's have some little footiehills.

Some little foothills.

I'm going to go back into, this is
the black and a little bit of blue.

I'll reach over here
and grab a little white.

I want to make a grey colour,
blueish-grey colour,

and this brush is round,
but it comes to a chiselled edge.

See? You can see how sharp
it is right there.

OK, let's go right up here.

Maybe there's a little footiehill
and he lives right there.

I'm just touching and giving it
a little downward pull.

Just want to make that indication.

I got the brush sort of tilted
that way.

There. Just very quickly,

we'll just drop in some of those
happy little things.

Just let them happen.

Let them fall right off your brush.

There.

OK, now then.

I want to create, at the bottom
of this,

the illusion of mist,

a soft area, so take the big brush,

and just beat the devil out of it.

Just raise Cain.

This is a much better way of
taking out your hostilities than

going home and kicking the dog!

If you have a dog like I do,
he'll kick back!

Take off half your leg.

There.

Lift it right up.

See, that quick,
you got very soft little trees,

really back in the distance, with
a bit of light mist floating here.

Isn't that super?

All right.

That was so much fun.

Tell you what, let's put some
bigger trees in here.

We'll use that same colour.

That was a nice colour -
it's just blue and black.

OK, tap it into the bristles.

Let's go up here and decide.

We had to make some decisions,
maybe...

..maybe - certainly now, maybe.

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

Big tree.

We're going to have a big tree
right there.

And begin thinking about
this tree's shape.

Begin thinking about the shapes,

and all the little things that make
the tree so pretty,

and he's got little arms
that hang out here -

oh, look at that.

Let the sky show through.

And sometimes, maybe you like
to play a little bit.

Tell you what let's do,
let's have some fun here.

Maybe back in here,
there's a little footiehill.

I'm going to take that same purplish
colour we started off with

in the sky, and to that, just on
the brush, add a little sap green.

Little green running into
that purple.

We'll just make a crazy colour here,
pick up a little white.

Go in there. See, and it makes
a nice brown tone.

Greenish brown, very pretty,
very pretty colour.

OK, let's go up here.

Maybe we want to show
there's a little meadow back here,

just like so.

So I'm just using this brush
and we're laying some basic colour.

There we go.

Way back in there.

This will help create a little
more distance in the painting.

We'll just drop that in.

And we'll take a little black
and a little green,

put a little brown into it.
What the heck!

Just tap it into the brush. OK.

Maybe there's some
happy little trees.

These are a little closer, so you're
going to see a little more colour.

And they live right there.

Just however many little trees
you want.

And without washing the brush,
I'll just pick up some yellows

and some yellow ochre here.

Just tap it in.

Just tap it in.
Let's go up here.

And we'll just put indication of
a few little highlights.

Now, these are far away.
I don't want a lot of detail.

When things are far away, you don't
see every little leaf.

All you see is basic shapes,
colour changes, that type of thing.

Don't overdo detail
when you're trying to make

the illusion of things being
far, far away.

Look at that. See?

And it's all you need to create
the illusion of distance

in the painting.

And with the fan brush,
we can go right in here,

and pick up some of that colour,

and let's just blend it down.

Maybe I'll add a little bit of the
yellows in there. Brighten it up.

This is bright, shiny day.

Beautiful sky.

See?

Now bring it right up in there,
and that easy, you watch,

when we get a little
further along, that will look

just like a happy little
meadow back there.

And you could take the fan brush
and pick up a few little bushes

and weeds - that easy.

That easy.

Isn't that fun?

Painting should make you happy.

That's really what
we design these shows.

It really should make you happy,
whether you just watch,

whether you paint along with us,

we really hope you enjoy it.

Let us hear from you.

We really... We want to hear
what you like.

Drop us a line.

Drop us a line.
We'd love to hear from you.

We like the comments.

I'll take the knife here

and just going to drop in a few
little indications here and there,

of just some happy little sticks
and twigs,

and that easy,

it makes it look just like there's
all kind of things happening.

Tell you what. Let's go back
into this black and blue.

Tap it in.

And I want to show you how
to push all that back now.

What we are working with here...

Let's just take - look here,

watch here, bring this right down,
right down.

Look at that.
See how it pushed all that back?

That easy.

It's unbelievable that you have
that much power.

But on this canvas, you do.

Boy, when I go home,
all I can say is, "Yes, ma'am."

But on this canvas,
I can say anything,

I can build anything, I can create
a world that makes me happy.

It's bright, it's shiny,

there's nothing bad here.

There's nothing but
good things here.

You listen to the news sometimes,
and it really depresses you.

Somebody got hurt,
somebody else got shot or killed.

You can go to the easel and make the
kind of world that makes you happy.

There's no violence,
no-one's hurt here,

everyone's happy.

Everyone's happy
and that's what I'm looking for.

I spent half my life
in the military.

And I was a bad guy in the military.
Boy, I had to yell and scream.

And now, I just enjoy life.

And I do what makes me happy.

There we go.

Let's have a little tree -

he lives right there.

There he is. There he is.

These little trees just live
in your brush,

just have to tap them out,
scare them out sometimes.

There we go.

Maybe right there.

But now, see, I'm glad I went back
and put that in.

Look how far away that looks
already.

Already.

Already.

It's fantastic that you can
create that much distance,

with just a few strokes.

And you can. You can.

There we are.

All right.

Now we have to start making
some big decisions.

What are we going to have
in these trees here?

I'm going to take my number two
script liner brush,

go right into a little bit of brown.

Just turn that brush.

I've dipped it into a little thinner
so it's nice and thin.

Let's go up here
and let's put the indication,

here and there, of a few
happy little tree trunks.

Just, just let them come right off
wherever you think

they ought to be.

That's where they ought to be,

and as many as you want
in your world, you put them in here.

See, just drop them in.

There we go.

Look at that. Look at that.

Now, also you can take
and go right into the liquid white,

and watch here.

Maybe some of them aren't all brown.
Maybe - lookit, there.

There's an old trunk,
it's sort of white.

You have to make these decisions.

That's the responsibility that comes
when you become a painter.

There.

And as many as you want.
There we go.

That ought to be enough to give us
some indications.

Well, we better put one over here.

This old tree,
we don't want him to get lost.

There. Give him one too.

And there.

There we go. See there? That easy.

Now, then, let's begin
putting some highlights

and some details on this big tree.

I tell you what I want to do first.

I want to take a little bit of
the dark sienna,

mixed with a little bit
of brown, Van Dyke brown,

and I'm going to put the indication
here of a bigger trunk in this one.

We'll just make him stand out.

Take a little white.

Use a little bit of yellow ochre
and a touch of red in there.

There we go.

Just make a colour like,
whatever. Let's go up here.

Let's put some highlight here.
This is touching...

Look at that.

Look at that. Just let it sparkle.

Let it sparkle.

We'll let this tree stand out.
He's strong.

He's a big tree.

I'm going to go right into a little
bit of the liquid black,

and with that...

Ah, look at that!

Put a little tree limb on there.

See now.

When you take up painting,
also take up looking at nature.

Spend some time, spend some time
out talking to a tree.

I know that sounds crazy.

I don't mean you physically go out
and talk to a tree,

but make friends with a tree.

See what makes a tree
look the way it does.

Just spend some time
looking at trees.

It'll pay you big dividends in
your paintings.

There.

And if you want to talk to a tree,
that's your business,

you go right ahead.

You talk to him if you want to.

I've been known to do that
several times.

OK.

Now, then, I'm going to a little bit
of the liquid white,

a little bit of my colour.

We'll tap a little bit of that,
a little bit of yellow.

Let me run up here
and grab some sap green.

We're going to load this brush full.
Let's go up here.

I want to put some indication of
some happy little leaves that are...

Lookit there.

Just thousands of little leaves
and a couple of strokes,

and this is where you begin
shaping your tree.

Think about form, think about shape.

What makes this tree stand out?

Think where light would strike
and play through here.

And all these little things
which just happen and bounce.

Just let them bounce
right off your brush.

There they go.

And if your paint won't stick, add
a little bit of the liquid white,

or a tiny, tiny little bit of
paint thinner,

and that will make it stick
much easier.

Just brighten this one up a little
bit right there. He's on top.

He'd get the most light.

Sun's really going to hit him.

OK.

Maybe a little bit...
Oh, right there.

Right there.

See there?

How easy it is to make all kinds of
beautiful little things.

Add a little more green here.
I'm using just green,

all the different yellows,

touch of the red here and there.

Look at that.

And don't kill all this
nice, dark colour that you

have in the background.

That helps, that really helps create
the illusion of distance.

Tell you what, while I got that old
brush running here,

let's do this one over here too.

Shoot, we'll just get
all these done.

Some happy little things
right there.

And all we do is happy.

We have nothing
but happy paintings.

There.

You know one thing, one thing
I've noticed

as I travel across the country,

doing demonstrations and
teaching classes -

only nice people paint.

Everybody I've ever met that's
a painter, they're super people.

I'm going to use the one inch brush,

and we'll begin putting in some
of the little details here.

Pull that brush in one direction.

One direction, load it full of
paint. Let's go up here.

Maybe in here there's some happy
little bushes that live

and they play - look at that.

Just let them pop right off
your brush. Bend that brush.

Bend it.

Make individuals, one at a time.

One at a time.

Don't try to hit them all at once.

Just do one little bush at a time.

Look at that. Look at that.

And you can put as many of these
or as few as you want in your world.

You have to make decisions.

Going to some of the ochres
and the reds.

There.

Isn't that a pretty one?

See, that tree just comes
right out of that bush.

I've painted probably 20,000
paintings or more,

and I still get excited
when I see this work.

Never, never ceases to amaze me.

For many years,
I was a traditional painter,

and I used to labour over paintings.

Labour for weeks and months.

And this makes it fun.

Look at that. Just layer after layer
of happy little bushes.

But layer them -
here I'm using the brush sideways

and pushing upward,
can you see that?

There you go.

That creates just layer
after layer.

And what happens if you happen
to get some colour down in here?

Don't get upset.

Just let it happen.
We don't care.

Let's go over here.

Let's go over to the other side.

As I say, if your paint
doesn't stick,

add a tiny bit of paint thinner,

or a little bit of the liquid white.
Either one.

There.

And we can begin the layers of happy
little things happening right here.

Is this scene beginning
to come together yet?

All right, tell you what let's do.

Tell you what let's do.

Let's take a clean brush here,
and I'm going to touch,

and watch here,
we were worried about all this mess.

This is where you make
the determination what's water

and what's reflection,

and that easy. That easy.

You can change your mind.

You can do it.

And very lightly, very lightly,
watch here, take the brush and go

across, just go across, just enough
to give it a watery appearance.

That's all there is to it.

Maybe we'll go back into
a little bit of a dark colour

and let's just pop a little colour
right in here.

I want to bring
this whole area over.

And, and...

..going to make us a reflection.

See there? Look at that.

Look at that.

Take our one inch brush
with a little bit of colour on it.

We can go right in here.

Yeah, just pop in
a happy little bush.

Maybe we'll add a little red.

Oh, look at that!

Let's reflect some of that -
that colour is so pretty,

that you really need to put
a bit of it right down in there.

Then with our big brush again,

three hairs and some air.

Lightly.

Lightly, lightly, lightly.

Tell you what.

Maybe there's some happy little
stones that live along here.

So let's go right into the browns.

Use a bit of the sienna
and a little bit of the Van Dyke.

Just cut off a little hunk
like that,

OK? Let's go up here.

Now, begin figuring out
where your stones live,

and just drop them in.

Just drop them in, wherever
you want them. Lookit there.

Lookit there.

Maybe some are big.

Some are little.

Make little sounds, make up
little stories when you paint.

Really helps. Of course,
all your friends think you're crazy!

But that's all right.

That's all right.

Maybe it comes right around
like that.

Lookit there. We're making us
a little pond.

You know, if you had a little
pond that was that pretty,

you'd have to have a path
come round to see it.

So let's start right here
and just barely grazing the canvas,

going back-and-forth,

just build us a happy little path.

It comes right on, right on, right
on, right on, where does it go?

Where does it go? There it is.

It comes right out like that. OK?

Now take a little brown and
a little white, we'll just take

and put a little highlight on there.

Just gently, gently, gently,
barely touching, dragging it across.

That easy. That'll end up being
a little path for us.

Tell you what, I'm going to get
that knife going and that brown

and white, let's put some
highlight on our stones here.

There. Just barely let it graze.
Just let it touch.

Just let the light
play across the stones and have fun.

Let all the little colours happen.
It's that easy.

It's fun.

There. There we go.

Now I'm going to take a little
bit of the liquid white

and to that add a little bit
of the blueish colour,

and just go across,

and let's put, put in some little
waterlines here and there.

This is a nice way
to clean up the edges

and help create the illusion
of depth in the painting.

See how it pushes everything back.

But it cleans up all
the edges here.

That easy. That easy.

There's one right there.

Now...

..we have to make some big
decisions here.

Go right into some of my
dark colour.

Right here.

I think we're going to have some
little things right there.

Comes right out.

There we go.

You need that dark once again.

That dark is the only thing
that makes the light show,

so put some dark in there
before you put light on.

If you put light against light,
nothing happens.

Grab some green.

There we are. Load that brush
full of paint.

Load it full.

OK, let's go up here.

Now, then, we want to begin bringing
this path right into the painting,

so have some of these little grassy
things that come right over it.

See? And that brings it
right into the painting.

Otherwise it just sort of floats
out there. We don't want that.

Push, bend the bristles.

Lookit there.

All those little things, and
because you mixed several colours

on the brush, you have all these
things happening automatically.

Double, triple load the brush.

There we go.

Just add a little bit more of
the liquid white there.

Tiny bit more.

Let's put a nice sparkler
right out here in the sun.

That will help lead your eye
right into the painting.

There's one right there.

And you do these in layers.

Once again, I say that over and over

because these layers are
so important,

they bring depth into your painting.

And that's what makes
a painting look very good

and very real.

Now, let's just take a knife
and we'll use just a clean knife,

and very lightly, I'm going
to go in here and there,

just scratch in a little indication
of all kind of little trunks

and stems, all the little things
that help.

It looks like detail
in your paining.

People will look at this and think
you've worked for literally days,

weeks, putting all this in
with a one haired brush.

Don't tell them any different!

Now right here with the path,
I want to push that path down.

Bring some of them sticks,
so they go right over the path.

Just like so.

And normally you put these little
sticks and twigs in the dark areas.

I think we're on the verge of having
a finished painting here.

I'm going to take a little bit
of thin oil,

a little bit of my red colour,
we'll mix it up here,

and I think this one's ready for
a signature.

We thin this down until
it's like water.

And just sign it right here.

I have a very short name, so it's
easy to do a quick signature.

While I'm signing this,

I'd like to thank you
for being with us today.

From all of us here,

I'd like to wish you happy painting,

God bless, and we look forward
to seeing you again.