[Music] Hello, I'm Bob Ross, and I'd like to welcome you to the 16th "Joy of Painting" series.

First of all, let me thank you for inviting me back for another series of painting shows.

If this is your first time with us, let me extend a personal invitation for you to get out your old brushes and your oil paints, and paint along with us each show, or just pull up the old easy chair, put your foots up, and enjoy a relaxing half hour as we place some of nature's masterpieces on canvas.

Tell you what, let's start out by having them run all the colors across the screen that you need to paint along with me, and while they're doing that, come on let's go up here and let me show you what I've already done.

I've got two canvases up here today.

We thought we'd do something a little different.

I get a lot of requests from people wanting to do like winter and summer or the different scenes, so I thought today, I would show you how to do two paintings at one time, and this will be your challenge for the day.

So let's start out with a little two inch brush today.

I'm gonna go right into a small amount of the phthalo blue.

Just tap a tiny bit of it into the bristles, just pull a little paint out and tap it.

The tapping assures that we have an even distribution of color all the way through the bristles.

Okay let's go right up here.

Now maybe on this one, we'll just start up at the top, and make little criss cross strokes.

We'll say the one over on this side is our summer scene.

So we'll just put in a happy blue little sky, just like so.

Just using little criss cross strokes.

Now the canvases were both coated with liquid white, so the liquid white is continually mixing with the color, and that allows us to actually blend color right on the canvas rather than working yourself to death on the palette or the canvas.

Take a small amount of alizarin crimson, and maybe, maybe right in here, we'll just add a little touch of that.

That'll make a nice little lavender hue, right in there.

Just to sparkle it up again.

There.

Okay, now then.

Without cleaning the brush, let's go right over to the canvas, and let's say it's winter.

The other one we'll have winter.

I going to take phthalo blue, and I'll reach right up here and get a touch of the midnight black.

Because this is winter, I want to gray the sky a little bit.

I want to make it a little chillier, a little more mood to it.

Okay, and here, we'll just, once again, use the little criss cross strokes.

And depending on what you want, you can add more of the black, you can gray it down, or you can leave it brighter.

It all depends on you, however you want your world to be, that's the way it ought to be.

Okay, that's a nice little gray sky there.

So tell you what, let's take some of that same color, just the black and the blue, that's all we need, and let's go down here, and let's have a little water in these paintings.

What the heck?

What the heck?

Pull from the outside inward, outside inward.

There.

Both sides.

That way it'll leave a little open area right in here, and when it's all done it'll look like a little sheen of light coming across there and be very pretty.

Now, very gently, very gently, three hairs and some air, we just go across and blend that.

The little light area still remains in there.

Okay, and I'm going back into my phthalo blue, and I'm going to add a touch, and let me say that again, a touch of phthalo green.

It's very strong.

Very strong.

Then we'll go back to our summer canvas, and let's do the same thing.

I put the green in there once again to make this one a little brighter.

This is summer it's happier, all the birds are having a good time.

That's what we want to show over here.

But still pull from the outside in.

There we go.

And very lightly, just go across.

Okay.

Now we can wash the old brush.

And if you've painted with me before, you know this is the fun part of this whole technique.

We wash our brushes with odorless thinner, shake them off [laughs], and just beat the devil out of them.

And that's where you take out all of your hostilities and frustrations and it's a lot of fun.

Okay, let's put some clouds in here, what the heck?

Take titanium white.

Let's do the summer one first.

We'll take white, be right back.

Right back.

Get a little touch of the bright red.

A little touch not much.

Okay?

Maybe there lives in our world a little cloud right up here.

We're making small, little, tiny, circular strokes.

Little tiny circles.

Little tiny circles.

There we go.

And just sort of let the cloud float around, have fun.

Maybe it's got a little friend lives over here.

There.

See how easy that is?

Now then, on the other side, in our winter scene I'm gonna add a touch of gray to it, a little bit of the midnight black just to gray it down.

Because once again we don't want this as bright.

Okay?

Now maybe this old cloud lives right here, and he just sort of floats around.

There.

But when you're doing this, just sort of think like a cloud.

They're free and they have a good time, and just, just enjoy it.

Little tiny circles and don't overwork it.

If you overwork it it'll begin looking like a big cotton ball that lives up here in the sky, and we don't want that.

We want some life in the son of a gun.

Alright.

Now with a good clean dry brush, I'm going to gently, gently blend the base of these clouds, just blend the base of it.

There we go.

Now fluff them.

Grab them and fluff them.

And then very lightly blend the entire sky.

And that easy, you've got a fantastic little cloud, and while we're going here, let's do the little summer scene over here.

Same basic thing.

Fluff it, pull it, lift it.

There.

Very gently though, and there we go.

Now then, let's have some fun.

Maybe in our world today, maybe there's a little mountain back here.

I like to paint mountains.

I lived in Alaska for a dozen years, and mountains are very, well they're very special to me, I like them.

So we'll take some black, Van Dyke brown put a little alizarin crimson in it, and a little bit of the Prussian blue, a very strong blue.

Pull the paint out very flat.

Go straight down with the knife, cut across and that gives us a little roll of paint right out on the edge of the knife.

Okay.

Now you have to make a major decision, where does your mountain live?

Maybe in our world, it lives right here, and I want this mountain to be quite small, just a little tiny mountain that's far away.

That's all we need is just a basic little shape.

Maybe there's a little bump lives right there.

The only thing we're concerned with is a nice outside edge, we could care less what's happening down here.

Don't worry about that.

We'll take care of that.

Don't worry about it.

Now over here we use the same color, and we'll try to make a mountain that looks about the same We're trying to do the same scene in winter and summer.

We'll make them look similar.

There we are.

Okay, maybe right there.

Once again we're only worried about the top of the mountain, we could care less down here.

Scrape off all the excess paint.

Just scrape it off.

Then with a large brush we wanna grab this and move it, because the liquid white's on the canvas, so you can literally move the paint.

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

And just blend it down.

Same thing over here on this one.

Grab it and pull it.

Just pull it.

Think about the angles in your mountain.

There we go.

And just let it blend right into nothing just like it's laying in the mist down here.

Now then we go back to our knife, and tell you what let's do, we'll take some titanium white, dark sienna, and we'll mix them together, but leave it marbled like that.

Don't over mix.

And cut off our little roll of paint, it's right on the edge of the blade there.

Let's go up here.

Now this one over here that has the summer scene on it, here, I want some nice browns on it, and all kinds of things happening, and by not over mixing the paint, this happens automatically.

You get all kinds of beautiful colors and shades and tones.

You could work yourself to death trying to do this by mixing each color.

This is a lazy man's way of painting.

Let the canvas work.

Let the paint work.

Maybe we'll put a little bit right out there.

There we go.

Now then we need a shadow color.

For that I'll just take some, oh we'll use some dark sienna, a little bit of the Prussian blue in it, that'll gray it down.

Once again, we cut off that little roll of paint, small amount of paint, and we'll just put in a shadow.

That's all there is to it, in the opposite direction just [Bob makes "pshoo" sound].

See there?

And you can create just the illusion of all kinds of things happening in your world.

There we go.

Maybe right in here, just let that come down just like so.

Anywhere you want.

Over here, a little bit.

Okay, now then.

We'll take a clean dry brush.

Be sure it's dry.

If it's not dry you're going to be upset with me, because your color's gonna sort of just mix together.

We just tap the base of it here.

We want to create the illusion of mist.

Soft misty areas down here at the base of the mountain.

Then we lift it up, and that'll sort of bring it all together.

There we go.

Alright, and that easy, we have a summer type mountain.

Now let's go over here to the cold side.

We'll take titanium white, and there's a little bit of that gray color left in it, not much.

Once again our little roll of paint.

Snow on this mountain.

As they say in Alaska the hawk has came.

There we are.

The old hawk.

He puts snow on the mountain.

And we'll just let that come right on out like that.

A little bit on this peak, like we had on the other one.

[Bob makes "zoop" sound] Got to make those little noises or it doesn't work.

There we are [chuckles] let's take a little bit of the, we'll use a little phthalo blue and a little touch of the black in it, a little white.

We'll make a happy little shadow color, once again right out on the edge of the knife.

Just let that, [Bob makes "tchoom" sound] But absolutely no pressure.

No pressure.

It just floats across there.

As I've mentioned before in other shows, when I was teaching my son Steve to paint, I used to tell him to just pretend that he was a whisper floating across here.

It's that delicate of a touch.

Just barely touch the canvas.

Okay, now then we'll tap this, just to create that old illusion of mist again.

There.

Just touch it.

Like so.

Okay.

Now then.

Maybe there's some little foot hills that live back there, so let's take, we'll use some, oh some black and a little brown, and we'll reach up here, get a little touch of this sap green.

Not too much green.

A little bit of white just to lighten it up.

Okay.

Let's go up here.

Maybe on this one here, we'll just touch with the corner of the two inch brush, and just make the indication of the little, distant foothills that live far, far away.

There.

Just touching.

Now then.

If there's gonna be water down here, let's have a reflection so all we'll do is just tap some of that color right down, like so.

Alright.

That's coming along nice.

Now take the big brush, pull straight down.

Straight down.

Look a there.

Look a there.

Instant reflections.

When I was traditional painter, reflections used to drive me crazy, and it's one of the easiest things you can do in this technique.

Alright let's put some over here on the winter side.

We'll take some white, some white, I'm gonna grab some black.

There we are, a little bit of black, a least a little touch of blue.

We want these to be gray.

Once again this is winter, it's a little more drab.

Okay.

Let's go right up here.

Now the same basic shape.

We just tap in.

There we are.

That's all there is to it, just think in your mind where a little foothill lives, and put it in.

Put it in.

This is your world on this piece of canvas, and you can do anything that your heart desires here.

You have absolute and total power.

This is the only place in the world I have any power, but here I'm the dictator.

I can do anything here.

Anything, and you can too.

Just think of a scene in your mind, and put it on canvas.

And that easy we have a happy little reflection.

I want to dip the knife into a little bit of the liquid white.

Just pull that through, be right back, get a little touch of crimson.

Shoot, we'll brighten this one up.

Pull it out and then cut across just like that.

Let's go up here.

Now then.

Let's put in just a happy little water line and we act just like we're trying to cut a hole in the canvas.

That's all there is to it.

Just a little ripple here and there.

Okay.

On the other side I'm using just straight liquid white.

Don't want the pink over there I want this one to be a little colder.

There.

See there?

It's that easy though.

You can do it.

You can do anything.

Anything that the mind can conceive you can do, at least up here.

Alright.

Now we have to make some big decision.

What lives up in the foreground here?

Well I'll tell you what let's just get crazy.

We'll take some black, some blue, I'll grab some alizarin crimson, a little Van Dyke brown.

I'm not using any green in this, then I'll use the same color on the both sides.

Just the blues, both blues, and black, brown, crimson.

Okay, let's go right up here.

Maybe there lives in our world, a nice tree.

Big tree.

And he lives here and he watches everything.

Just push, bend the brush upward.

There we go.

Maybe there's shoot, maybe there's a little land comes right across here.

I don't know.

Just whatever you want.

Here you could create any illusion that pleases you, and all we're doing is just filling that in.

Okay?

Now then.

Pull the brush in one direction when you're doing this, see, one direction.

That causes a curve when you turn the brush over, so it curves to the top.

Now let's go up here.

Let's push in a tree over here on the winter scene.

Same basic tree.

Maybe we'll do one over here that's all covered with snow.

Ooh.

Cold over here on this side.

Have to wear a coat when you paint this one.

Just like so.

Tell you what, just so you have some practice, let's do us a find a fan brush there, let's do a happy little evergreen tree too.

We'll use some blue and some black and brown, crimson, just those same colors.

Same old colors.

Load the brush full of paint.

Let's go right up here.

Maybe in our world there lives, does now [laughs] just a happy little evergreen tree.

Just go back and forth, back and forth.

See?

They live here in your fan brush.

Sometimes you have to sort of scare them out.

There we go.

There we go.

See and leave some arms out here like this, so the birds have a place to sit when they come.

There.

And he goes down here somewhere.

We don't know where he goes.

Over here let's put one about the same height.

And we'll just drop him in.

These little paintings will give you a lot of practice, show you how to do all kinds of different things, use all the equipments, all the colors.

We only use about a dozen colors.

13 to be exact.

And with those 13 colors you can do anything.

It's unreal.

Unreal what you can do.

Maybe, see sometimes you change your mind, maybe there needs to be a little baby tree right here.

I don't want that tree to get lonely.

So we just put him in.

And when you do your painting, let's go over here.

When you do your painting you just sort of look at it, and you decide how many trees live in your world.

You can have two, ten, zero, any number in between.

Any number in between.

Now since this is a winter scene over here, we need some snow on the ground so let's just take titanium white on the big brush, just pull some in there, just like so.

Now then decide where your snow lives.

Maybe it lives [Bob makes "sssoop" sound] right here under the trees, just like so.

See?

That's what's great about this old big brush.

You can just do it quick.

See, allow some of that dark color to pick up and pull it.

Then it looks like shadows under these bushes and trees.

Okay.

Now then.

Let's start having some fun.

Maybe we'll highlight this so I'm going to dip the brush into a touch of the liquid white, on the one inch brush, and let's start out we'll go through cad yellow.

Let's do the summer one first.

Just cad yellow.

I'll be right back, don't go away.

Right there.

A little bit of the sap green added to it.

Pull the brush in one direction though, and look at the amount of paint that's in the bristles.

A tremendous amount of paint, that's what you need.

Okay.

Now if you have a lot of paint in here, and it's a thin paint, this is thinner than the paint that's already on the canvas.

We use a very firm dry paint up here, now this is thin.

Now, all you need is a gentle little touch, and you can put beautiful highlights out here on your tree.

Beautiful highlights but now think like a tree.

A tree has limbs, it has little arms that live in here.

Don't just stab these on at random.

Think about shape.

There's little branches and stuff that live inside of here, and they're little individuals they each have a personality.

Okay, we can add a little yellow ochre, a little Indian yellow, here and there maybe a little touch of the bright red just to sparkle it.

There.

Okay.

A little touch of bright red, shoot, maybe there's a firecracker lives right out here.

Mm.

Boy that's pretty.

That's pretty.

Son of a gun.

See but work in layers.

Now then, come right up in here, notice that we leave some of the dark areas.

Those little dark areas in between are very important.

That's what gives your little bushes and trees depth.

Okay.

Now then.

Let's take, we'll use a fan brush here.

I'll just take a little yellow, some sap green mixed in it, pretty dark color.

Load a lot of paint in the bristles, and our evergreen tree here, just add some little highlights on him.

Don't overdo.

This gets working so well that you just wanna cover up all the dark, and you lose your beautiful little tree then.

He'll go away and leave you.

There.

Okay, now we, here's an old dirty, this just two inch brush is dirty.

We'll just tap it right into various colors, just tap, give it a little push.

Now then.

Let's come right down here, and we can begin putting in all kinds of little happy grassy areas.

That easy.

That easy.

Think about the lay of the land here.

Just layer after layer after layer.

Okay, maybe.

Look a there, see you can create a whole other plane.

That easy.

There.

But don't kill all that dark, once again, it gets feeling good and you just go crazy, and you can kill all that dark, and then your painting gets very, very flat.

It looks like you, almost like you cut it out a newspaper or something and glued it up here.

Now we just take a knife, clean knife, and here and there we'll just scrape in the indication of some little sticks and twigs and little happy things that live all back in here.

That's all there is to it.

Let's do the other one now.

Now I have several fan brushes going, so I don't have to spend all my time washing them.

We'll take some white - be right back - a little touch of the phthalo blue, a nice warm blue, very pretty.

There.

Okay.

Let's go up here, maybe there's a little snow hanging on this tree.

There.

Mm.

See that's where the birds sit, right out here.

Even the wintertime they have to have a place to sit.

Sometimes when you paint you can almost hear the little birds.

There.

So just once again though, make up little stories, and think that this is your world.

It becomes a special place to you.

And of course people may look at you like you're a little strange, but us painters you know, we have an artist's license that says you can do anything on this canvas that makes you happy.

Utilize that.

We'll take titanium white and liquid white, mixed together on a brush, pull it in one direction, load a lot of paint, a lot of paint.

The liquid white's in there only to make the paint thinner.

Let's go right up here.

Put the rounded corner to the top, and let's just put all kinds of beautiful little snow covered limbs out here.

Now if you wanted to you could just take your liner brush, and just make like a tree trunk.

Maybe all the leaves fell off in your world.

I sort of like to have these snow covered things.

To me, it's just beautiful.

When I lived in Alaska, everything looked like this in the winter times, and it was maybe one of the most beautiful times of the year in Alaska.

It's cold.

Whew.

Oh, it's pretty.

It is so pretty.

God was having a good day when he made Alaska.

Things were going right.

There we are.

And maybe down in here lives a little bush, there he is.

So just make up all kinds of little stories.

Maybe over here, see you can put a little bush right there.

Just wherever you want them.

Now then, once again with our clean knife, and come right up here with the camera.

See this dark area?

That's where you want to put your stems.

You don't want to put them up here, put them down in the dark area because that's where you'd see them, and just scratch them.

Just scratch them in.

All you're doing is allowing the canvas to show through.

There.

Okay.

Once again though, mainly in these dark areas, we can come over here, drop in a couple, just wherever you want them.

Okay.

We're gonna find the old liner brush.

Go into some paint thinner, some dark sienna, and we want this paint to be thin like ink.

Turn the bristles, turn it.

The liner brush has very long bristles on it.

It loads a lot of paint.

There we go.

Okay.

Maybe, maybe in our world right up here lives a little stick.

Just take a touch, and it helps here if you're a little nervous.

It makes a much more interesting little stick than one that's just straight.

Or I think so.

Just, you sort of make the decision.

Maybe in your world, you want all straight sticks.

I like to have them with a little character.

Okay.

We can take that same color.

Let's go over in the winter side, and maybe the little stick lives right here.

See, there he is.

There he is.

You knew he was there.

There.

Just touch it.

Give it a little pull.

It's all there is to it, and you can put them wherever you want them.

And that's how easy it is to make two scenes at once.

I'm going to take a little more of the paint thinner, go into some bright red, and let's sign these.

And just thin your paint once again, just like it was ink.

And you can sign.

and we're gonna step right over to the winter one, sign it.

And I think we're all finished.

We have two paintings today for the price of one.

There we are and I hope you've enjoyed this and it shows you how to do a winter and a summer scene off the same palette, at the same time.

I think you'll enjoy and from all of us here, happy painting, and God bless.

I'll see you next time.