Original subtitles

Hello. I'm glad you could join me again today.

Today I thought we'd do a black canvas

and this painting will be a lot of fun.

I think you'll really enjoy it.

I've taken and put a strip of alizarin crimson

right across the centre here

and in the top and bottom are phthalo blue.

I'm going to have them graphically run all the colours

that we'll use today across the screen.

They'll come across in the order that I have them on the palette,

starting with the white and going around.

While they're doing that,

let's get started and do a fantastic painting together.

Let's start with a two and a half inch brush today.

Go right into some titanium white

and we'll just load some up, get both sides of the brush loaded up.

We'll just have some fun.

OK, let's go up to the canvas.

Now, as I said earlier,

there's alizarin crimson right across here,

so if we hit white here,

hopefully, hopefully, there it is,

we get a beautiful, beautiful paint colour, reddish colour.

That's unbelievable, isn't it? Just right there, it happens...

..and then we want to blend that upward.

Now we're beginning to get into the blue.

See, all these little things just happen automatically.

Our canvases are painted with a flat black acrylic and allowed to dry

and then we go back and we put this firm, strong colour on top of it.

I'm going to clean the brush.

We clean our brushes with odourless paint thinner.

Shake off the excess...

..and then beat it dry.

Now, you can do this as many times as you want

and get any desired brightness that you want in these paintings,

but each time you start, start with a clean brush

and go back to the lightest area and work outward.

You don't want to drag the dirty brush back into the centre.

The blue is much, much stronger...

..than the crimson, so very easily, you can lose all the crimson colour.

Here I'm touching a little bit of white

and I'm going to make a couple of little spots a bit lighter

to break up the sky, so it's not just one flat and dead colour.

And then we can clean the brush again.

Need to keep a clean brush.

OK, shake it off. All right.

Now, then, let's go back in here,

and just blend out all the little brushstrokes.

Very gently, very gently.

That easy, you have a beautiful, beautiful little sky,

nice red glow in the horizon.

Very exciting. A lot of fun.

OK, and that easy, that's how you get a beautiful little background.

This will work with any transparent colour, so play with it.

We're just trying to give you ideas

and then we turn you loose on the world,

so play with this and you can do unbelievable things.

Let's begin working on some background.

Maybe, maybe, there's some little foothills back here.

I'll just use the same brush, and go right into a bit of cad yellow.

There's some Indian yellow, a little yellow ochre,

just work back and forth,

pick up a little sap green, put it in there too.

So, you just tap, there you go, just a little.

Quite a bit of paint in the bristles,

and work this colour back and forth,

so you have layers of different colour happening.

Let's go up to the canvas here.

Maybe there's a little foothill that lives right there.

I'm just using the corner of the brush.

We'll just touch and let it wander right on down,

wherever you want to go.

Wherever, wherever. See there?

OK, a little more colour.

You can just put as many of these little foothills as you want,

just drop them in.

Little distant things happening.

Maybe, maybe, maybe... There it is, there it is.

Wherever you want it.

There we go.

Isn't that simple? We've got a beautiful little foothill back here.

If you want to create a little misty area here

you could take a clean, dry brush...

I've got several brushes right here.

..and just tap this, just tap it.

Very lightly.

That darker colour that's underneath will come through.

That's all you've got to do.

Just tap it like that and it will create a misty look down there.

Let's go back in here and get a little more of the colour.

This is cad yellow, Indian yellow,

and a little bit of yellow ochre.

OK, go back up here now.

Maybe, maybe, maybe,

in your world, there's a little foothill that lives right there.

And maybe this one maybe just comes right across, there it goes.

There it goes. Wherever you want it to go.

Wherever, wherever.

Sort of do this in a layer,

doing the part that's furthest away first.

You don't want to kill all your dark areas in here.

If you kill all the dark areas, then you're going to lose your depth

and it will get very flat on you.

So if you notice it becoming very flat,

check to make sure you haven't killed all these dark areas,

that's usually what happens.

If your paint...

If you have trouble making your paint stick,

add at least a little amount of paint thinner to your brush,

and then go into your paint.

It will make it stick.

There we go, bring it right on down.

And if you get one that's too bright, if you don't like it,

if it's too bright, you can continually tap it for a little bit

and it will pick up the dark colour that's underneath

and automatically it will get darker, darker,

until it will finally just go away and leave you.

Just go ahead and leave you...

That gives us a general little hill back here to play with.

Let's go...

I want some dark colours, let's make some black.

I'll use some phthalo green and alizarin crimson

in about equal parts.

I want this well mixed, so you pick the paint up off the palette,

turn it over.

All right. Let me clean my knife off here and we'll be ready.

It helps to have some paper towels or something around

to clean your knife on.

We get a fan brush

and we go right into this dark colour, load a lot of colour on,

a lot of colour.

Pull it through, wiggle, wiggle, wiggle, and then sharpen it.

Look at all the colour that's in that brush.

That's what you want, a lot of colour. OK, let's go up here.

Maybe, maybe, maybe, there's some little, there it is,

I knew it was there, a little evergreen lives right there.

Use just the corner of the brush,

just the corner,

and work it back and forth.

These little evergreens live right here in your fan brush,

and you can make them with a one inch brush, two and half inch brush.

Today I thought we'd do them with a fan brush...

..but whatever you've got handy.

Whatever.

Maybe, there it is, there's a little one here.

A little one right here.

Just a little tree, he lives right there.

I tell you what, I want another one here.

Maybe, I know there's one on the other side.

Let's go on the other side over here.

One lives right there.

He's up on the hill so he looks a little bit taller,

a little higher.

See how easy those little trees are to make? And they're fun.

Sometimes you get carried away

and cover up the whole canvas with just little trees.

It's exciting to see them just drop right out of your brush there.

Maybe there's some little things that grow right down there.

You need dark against light. Dark against light, light against dark,

continually play with it - light against dark, dark against light.

That's what makes it work.

Maybe like that.

Wherever you want it to go.

Just little things happening in here.

Now we'll take our big brush again

and we can clean this bottom up a little bit.

See there?

You can just blend that dark right in.

Everything is separate.

It separates because it's dark against light

and it creates the illusion of shadow right there.

Painting is nothing but games of illusions.

All right, maybe there's a happy little pond right here. Maybe.

Let's just take some of the same colour and go right here,

decide maybe there's some water lives right there.

Now, there's blue underneath and I've got yellow on the brush,

so it's going to turn a nice green colour.

Just pull it straight down,

straight down,

and very lightly go across.

That quick, instant water.

Now, we take the old fan brush here

and go right into a little bit of Van Dyke brown

and some burnt umber, just mix it on the brush.

Little Van Dyke, a little burnt umber,

and let's begin putting in some land areas in here.

If we've got water, we need some land, and here it comes,

lives right there.

You need to do these type of paintings in stages.

Do the thing that's furthest away first and work forward.

So you can put reflections and highlights and shadows

and everything, at each stage.

Now I'm going to take another fan brush.

I've got several fan brushes going here.

I'm going to use yellow ochre

and a little bit of white.

White and a little yellow ochre,

there we go.

Turn that brush and load both sides.

Now, very lightly, just grazing the top.

Laying a little bit of highlight.

You don't want to kill that nice dark colour

which you worked so hard to put in there -

don't want to kill all that.

If you're going to kill it, no use putting it in there.

Just add a little here and there, wherever...

And let it just sort of fade back up into the little grass areas.

Oh, that's pretty.

I love these black canvases.

Some of the most fantastic things imaginable happen on them.

They're just so much fun.

There, we're just bringing it all together.

Now, now we can come forward...

So, you do this in stages, maybe now another one comes right there.

Right there, wherever you want them.

I'm going through the Indian yellow and the cad yellow,

a little yellow ochre, sap green.

Now there's blue on the canvas

so if you keep tapping,

any of these yellows will turn into a beautiful green for you.

So you can get all the green that you want.

You may get too much green if you're not careful.

Don't tap it too much.

Now, let's put some reflections right under that.

Pull straight down, same colour.

Just straight down.

Look at that.

Look at that.

That phthalo blue under there

absolutely makes some beautiful reflections.

You're letting the canvas work.

You can do all this on a white canvas no problem,

but you would have to work a lot harder.

Now we just go across.

These strokes across need to be straight across.

Need to go straight across here. Your water will look

like it's going to run right out of the painting

and we don't want that.

OK, a little more Van Dyke brown and burnt umber.

We'll put some land here.

This is quite repetitious here.

I'll just quickly get through that.

Little yellow ochre and white, we can highlight these a little.

Just like so, just barely touching.

Barely touching, just scrub a little bit of that in...

..here and there.

OK, let's take the knife

and I'll go right into a little bit of burnt umber.

I'll go right up here and just lay in some little indications

of water lines here and there, just using a little burnt umber.

That also cleans the edges up.

Makes it very pretty.

Just wherever you want it. There's one.

Just where the land and water meet.

I tell you what, let's go on the other side of this canvas...

..and see what we can make over there. Maybe ...

That looks like a good place right there.

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

See how easy these are, though?

Just let it go, let your imagination take you everywhere.

There we go.

That may be the greatest gift an artist has, an imagination.

It's like everything else,

you practise with it, makes it strong, it works better.

Use your imagination, visualise scenes in your mind,

make them up in your mind before you paint them.

Go across.

Sometimes before I ever do a scene on canvas,

I may have painted it 100 times in my mind,

every stroke of it - I know every stroke before it touches the canvas.

It's like, well, athletes do it, they psych themselves up,

they see themselves going over the big jump or the hurdle,

you do the same thing with painting.

You see these in your mind, you practise them in your mind,

and then you go and put them on canvas.

That's what's fun.

A little highlight, still using the same colours.

OK, now we go back with a little burnt umber and drop in...

..just a happy little waterline.

I can't say it enough, though - you do these in stages,

working the thing that's furthest away first

and then coming forward.

If you try to do it all at one time, it looks like it would be easier

but sometimes it will get you in trouble.

Do a stage at a time, a stage at a time, you'll be happier.

Maybe, maybe, there it is.

Just keep building these wherever you want them,

this is just a happy little pond sitting out here, taking life easy.

Let it go, just right on out.

All kinds of beautiful little things happening.

Picking up that blue that's underneath.

A few reflections.

See, each one of these peninsulas needs reflections

or it won't sit down into the water right.

Don't leave reflections out. Go across.

OK, back to our brown and burnt umber,

put in a little bit of land area real quick like that.

Add a little highlight on it.

You're in business again.

You have to make another decision, where does this go? I see it.

You see anything you don't want, just cut it off.

Bring it right on down through there.

You've created all these little things very easily,

very easily, and you don't worry about it.

You just sort of evaluate it as you go along and let things happen.

Don't worry about it.

Don't worry...

I'm just going to fill this all up.

Don't kill all of the dark areas. Leave some of these dark areas here.

Don't want to lose that distance and depth in this.

Darker, darker, if you want it darker, just keep tapping.

Get darker and darker

because it will pick up that blue that's underneath.

All right, let's build a few little trees in here.

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

and go right into my brown,

right into the Van Dyke brown.

Let's go right up here, and maybe there's a...

Maybe, maybe, yes, you're right,

there's a happy little tree, he lives right there.

Now, you can thin this paint with a thin oil, such as linseed oil,

basically any kind of oil.

Just to thin the paint.

I like oil because it makes the paint slide on the canvas,

or you can use paint thinner to thin the paint.

As I say, the oil makes the brush slide on the canvas,

it's a little more fun to use.

There we go, a little tree there.

Maybe there's a larger tree

and he lives, he lives right there.

This will help build a little distance into the painting, too,

putting a few of these in there.

If the paint didn't stick, add a little more oil,

a little more paint thinner,

make it a little thinner and then it will stick.

A little bit of the thin oil...

..then it will stick.

I'll make his trunk get a little stronger right there.

There we go.

Maybe, maybe, maybe, he's got an arm that comes right out here.

You know trees, trees go however makes them happy.

That's the way you ought to paint them, however makes you happy.

There's hundreds and hundreds and hundreds of little limbs,

and you can take your liner brush and very lightly put them in.

Just barely touching,

that's how they're done, and you can put in just oodles of these.

People will think you've worked for months on this painting!

That's when you up the price.

So many painters for years have painted very rapidly like this

but it was done in secret.

They didn't tell you

cos you wouldn't pay $5,000 for a painting

that was done in half an hour.

We're going to show you how and you can make your own creations.

Maybe a little arm up there.

Just let that go right on back.

We can tap right there and it cleans up the bottom.

Now, then, maybe...

We had some evergreen back here in the background,

so maybe, maybe...

Maybe there's a huge evergreen that lives over here,

so let's go right into some brown.

This Van Dyke brown, load a lot of paint onto the brush,

just really fill it up.

My gosh, that brush is full of paint.

Look at that! A lot of paint!

Let's go up to the canvas here.

Maybe there's a big tree

and he lives right here.

Now, all I'm doing is just touching,

sort of patting the canvas...

..and come right on down to wherever you want him to go.

Now...

..out here on the side I want it to be sort of rough.

You get all these little hang-y downs on the side of the trees,

so, look at evergreens,

they've got all kind of little things happening.

This is just Van Dyke brown

and I'm just patting it right onto the canvas - just pat, pat, pat.

I've got a good friend named Pat. Pat-Pat.

So now we take a little bit of white, this is just titanium white,

small amount of burnt umber in it.

There.

A lot of paint once again.

Let's go back up to the canvas.

Now, I want to put this light colour over here.

Come right down the side.

Just tap, tap, tap.

Then we can begin where it comes together,

just begin tapping lightly and blend it all together.

That easy, you've got a nice, light side to your tree.

You can spend a lot of time working yourself to death on this,

so you can just do it very easily.

Put in some of these little hang-y downs.

If you get a little more light than you want, you can take the dark

and go back over and blend it all together.

It's very easy to correct, no problem.

You can make some almighty beautiful trees like this.

It's a fun way to make trees.

OK, maybe go back into some brown here,

maybe there's an old elm or two that hangs right down.

I'm going straight into the canvas, just touching.

Just touching.

Come right down, there it is,

give it some little arms

and all these little things here.

As many as you want.

As many as you want.

There he is - I knew there was one there. You did, too.

It comes right on out.

Just let it go.

There's another one.

Wherever you want them.

OK, maybe there's one here.

I like to make them sort of wrap around the tree.

That always breaks it up and makes it look a little more interesting

than just hanging off both sides...

..because that's the way they grow.

That's the way they grow.

All these little things happening out here.

Now we can take...

..a little bit of light colour and very lightly...

..highlight some of these.

It really pays you to have several fan brushes going,

or whatever brush going,

that way you don't have to spend so much time cleaning your brush.

Plus, a lot of paint is saved,

otherwise all your paint, not all your paint,

but a lot of your paint ends up at the bottom of your cleaner can.

If you have several brushes you can work back and forth,

have a brush for light and a brush for dark.

You can save a lot of paint. OK, let's go down here,

and clean the foot of this tree up a little bit.

I'll add a bit of grass down here.

Just very lightly.

Pick up a little of that dark colour on my brush

and put a little bit of shadow behind here.

While we're doing shadows, let's go back right up here.

I want to add a little dark bit behind this tree

to make it look like a little shadow.

The other side of the brush has lighter colour on it,

on the other corner, so I'll just go back. See, isn't that fun?

It gives it the impression of a little bit of shadow.

We can take the liner brush...

..and you can come back in here

and lay all kinds of beautiful little highlights.

All kinds, just blend them in.

You need a little light here to make that stand out.

It gives you some ideas to work with.

This is a fantastic little painting,

it's very easy to do, and I think you'll enjoy it.

It should give you a lot of ideas.

So let's take some thin oil,

a little permanent red,

and we'll go right up here and sign this one, call it finished.

Once again, I really hope this painting has given you some ideas,

set your imagination on fire...

..and between now and next week

you'll do all kinds of beautiful things.

Until then, we'd like to wish you happy painting. God bless.