All language subtitles for The Joy of Painting - 1x09 - _track3_[eng]

Hello, I'm Bob Ross.

And I'd like to welcome you to
the 11th Joy Of Painting series.

First of all, let me thank you
for inviting me back

into your homes again.

If this is your first time with us,
let me extend a personal invitation

for you to drag out your paints
and paint along with us each week,

or just pull up the old easy chair
and spend a relaxing half hour

as we place some of nature's
masterpieces on canvas.

We'll use a few big brushes
and a dozen colours or so,

and I'll show you how to create some
of the most fantastic paintings

you've ever seen
in just a few minutes.

So, I'll tell you what,
let's go on up to the canvas here

and get started.

Now, the canvas has been covered
with liquid white. And liquid white

just makes the canvas wet
and makes it slick.

It allows us to actually
blend colour on the canvas.

So, let's have them run all
the colours across the screen

that you need to do the painting
with me, and they'll come

across in the same order
as I have them on my palette.

While they're doing that,
let's go ahead and get started.

Today, I'll start with an 02 inch
brush. Go right into a little bit

of the phthalo blue and just
mix a little bit on the brush.

Just tap it right into the colour
and I'll re-tread up here and grab

a little black. So we're going to
have phthalo blue

and midnight black.

Black and blue, black and blue.

All right.

Let's go right up to the canvas now.

And, today, let's just dance
in a happy little sky.

We'll just do a little fun painting
and just, sort of, let the brush

just bounce around and play
and let it have fun.

Just relax and enjoy.

See there?

Isn't that easy? That easy.

Just make little Xs,
little crisscross strokes.

There! Add a little more colour
to my brush.

We'll go right on over here.

And notice we're not covering
the sky entirely.

We're going to leave a few little
areas open, little, happy spaces

in the sky, then we'll come back
and we'll put some happy

little clouds in there.

OK.

Just like so.

And because we have the liquid white
on the canvas, as we blend downward,

the liquid white mixes
with the colour and automatically

your sky gets lighter
toward the horizon.

And this will help create
the illusion of depth and distance

in your painting.

There!

Just like so.

OK. Now, while we have the old
brush dirty here,

I'm going to go right back into some
of the same colour,

blue and black.

Black and blue.

Boy, that's the way I look
when I argue with my wife!

Black and blue.

Now, then, maybe in this painting,
maybe we'll have a happy

little stream that sort of
wanders down here.

So, decide, basically, where
your little stream's going to be.

And we'll just go right in here

and, that easy,
just back and forth.

Drop in a little bit of colour.
And we don't care where it goes.

You could paint the whole thing
here if you want to.

It doesn't make any difference.

Just back and forth.

This is also a good way
to clean off the excess paint

that's on your brush.

There!

OK.

Tell you what, let me wash my brush.

And we wash our brush

with odourless paint thinner.

And I really recommend
you use odourless thinner.

There's a screen in the bottom of my
can that I scrub the brush against.

Shake off the excess.

And then do that.

HE CHUCKLES

And then just beat
the devil out of it!

And if you've watched me before,
you know this is the fun part

of this whole painting technique.

Now, then, with a good,
clean, dry brush,

I'm going to go right back
up in here,

and just blend the sky out.

Be sure your brush is dry, though.

We want to keep this paint as firm
and thick as possible on the canvas.

One of our golden rules is that

a thin paint will stick
to a thick paint.

Thin to thick.

So, we start out with paint
that's very firm and very thick.

And, then, on top of that,
we can add layers of thin paint.

And that's the only way
that you can paint

this wet-on-wet technique.

There we go. And, down here, we just
blend that out a little bit.

All right.

Now, then, let's have some fun.

I'm going to take a one-inch brush.

And I'm going to go right
into titanium white

and just pull that brush

through the titanium white.

I'm going to reach down here
and get the least little touch

of bright red. Be very careful
with this bright red.

It'll eat up your whole world
in one heartbeat.

Load a lot of paint into the brush.

OK. Just go right up here.

Now, you have to make
some big decisions.

Where's the little clouds
live in your world?

Maybe.

Maybe there's a little cloud.

He lives right here and he floats
around the sky

and just has fun all day.

Clouds are very free.

And when you paint clouds,
remember that they're free.

They just float around.
Paint them that way.

In your mind's eye,
think...think like a cloud.

Just think like a cloud

and just, sort of,
let it float around.

Just float around.

Yep, you're right.

There's one, right there.

Right there.

And, into your painting, you put as
many or as few clouds as you want.

I just want to show you
how to make a big, old cloud

and how many you make is up to you.

Maybe over here on the other side,
a little bit.

Maybe there's one,

don't want this side to be left out.

A happy little cloud
that lives right there.

There he is! There he is!

Just drop them in.

Don't overwork them.
Drop them in.

Put another one right there.

Just make a big decision.

Decide where you want him
and put your cloud right in there.

All right.

That quick, we have a little cloud.

Now, with a good, clean, dry brush,

we want to blend the base of these
clouds out

without touching the top.

So tiny little circles...

..just barely touching.

And using just the corner
of the brush.

Tiniest little circles.

Tiny little circles.

There you go. See?

Don't overwork, be lazy.

This is one of the times
that you really need to just

take your time, do a little bit,
and get away from it.

The more you work, the more your
cloud's going to go away

and leave you.

There. Just mix it up a little bit.

Stir it.

OK, then I'll rap
the brush one time there.

And, when I beat the brush,
that just removes excess paint

without going through the whole
cleaning procedure.

Now we're going to come back up here
and we're going to fluff this cloud.

Grab it.

And this is very light,
very delicate.

Three hairs and some air.

Barely touch it.

Lift it up, lift it up, lift it up.

And always do this
in circular strokes.

If you go straight up,

it's going to look like your sky
has rain going up in it.

That's sort of distracting.

So always do it sort of
in circular strokes,

just like so.

And, that simple, you have some
fantastic little clouds.

Isn't that fun?

There!

OK.

I think, today, let's build us
a little mountain

in this painting.

I lived in Alaska for many, many
years and I love mountains.

So, I'll show you how to make one.

Let's take a little bit of the
Midnight Black.

We'll take some Van Dyke Brown.

A little touch of Alizarin Crimson -
just a little crimson -

and some Prussian Blue.

Don't put too much crimson unless
you want purple mountains.

And that's... There's nothing wrong
with purple mountains.

In fact, I'll add
a little more crimson

and then get them a little
on the purply side.

Seems like they wrote a beautiful
song about purple mountains.

Pull it out very flat,
take your knife and cut across

so you get that little roll of paint
right out on the edge of the knife.

OK? Let's go up here.

Now then, you have to make
a big decision -

where does your mountain live
in your world?

And you just take your knife...

..and just begin deciding
where your mountain lives...

..and drop him in.

Just drop him in.

There.

See how easy that is?

The only thing we're worried about
is this nice outside edge.

We could care less
what's happening inside here.

There we go.

Just looking for the outside edge.

Push that paint in
very firm at this point.

And scrape off all the excess.

Just really scrape it off.

Now, then, we'll take
a two-inch brush,

grab that paint and pull it.

Pull it. That does two things -

it removes the excess paint...

..and it allows it to get lighter
towards the base.

And that's what will make your
mountain so pretty.

There it comes.

And then just blend it right
into nothing. That easy.

Now, then, let's have some more fun.

We'll put some snow
on that mountain.

Take some of the Titanium White
and, once again,

pull it out as flat
as you can get it.

Just get strong with it,
cut across,

and you have that roll of paint.

And it needs to be right out
on the edge of the knife.

OK, let's go up here.

Now, then, start...

..put the point of the knife
right along there

and just pull it downward.

Just pull downward.

There we go.
A little bit right there.

Just sort of determine where you
think the light would hit

on your mountain.

There.

And, if the light's coming
from the right,

then you want the light
to be more over here.

But you have to make
these big decisions.

This is your world
and you have to design it

the way you want it.

OK. Now we can take the little
edge of the knife

and go right in there, add a little
bit in there.

Now, then, let's put some shadows.

For shadows - oh, let's use
a little bit of blue and white.

Like so.

Now, sometimes, I want to change to
the small knife.

You'll find the small knife
is excellent

for getting in little tight areas.

So, same way.

A little roll of paint.
Let's go right up here.

No pressure.

Absolutely no pressure.

You want this paint to break.

To have all those little...

All those little holes in it.

No pressure at all.

Just barely touch.

Barely touch.

Give it a little pull.

Just like so. And mountains
are a lot of fun,

and they're quite easy to make.

There's some basic rules.

You have to pay very close
attention to angles.

Now then...

..we'll just keep using
that little knife.

We'll go right in here.
Watch here.

Maybe there's a little valley
that lives right in here.

Make up little stories.

Think about, in your world,
what your mountain looks like.

Maybe there's a little valley
that comes right around...

..like so.

There he comes.

And you sort of play the highlight
and the shadow back and forth,

and bring it together here.

See, there?

And, wherever you want it to go,
that's where it should go.

Maybe this comes right on out.

Like that.

There.

There we are.

Bring it right on back.

And you could just keep on going
until you cover up

your entire canvas with mountains,

which is an excellent way to
practise.

So, if you ever do that,
don't worry about it.

You have lost nothing
and you've learned.

And if there's any secret
to this technique,

or any other technique,

it's practise.

Just spend some time practising.

It doesn't take much, but you have
to devote that time.

OK, now, then, I want to create
the illusion of mist

at the base of this mountain,

so, with a large brush -
and this is a clean brush -

all I'm going to do is tap -
following the angles, here.

Just tap.

And, over here,
tap a little bit this way.

And give it a little lift.

Like so.

There we go.

And, in here, we can sort of just
pull this together.

See how easy that is?

You can do it.

You really can do it.

There's no big secrets here.

I'm going to show you how to do it.

All you need is just to grab your
canvas and some paint

and jump up here and do it.

And it's fun.

OK. We had some mountain colour
left over here.

Let's add a little touch of
Sap Green

right into the same mountain colour.

So, we have black, blue...

..brown, Alizarin Crimson.

We might as well mix up a pretty
good pile of paint here.

OK.

Now we can come in here
and have some fun.

I'm going to get the old fan brush.

And we load the fan brush.

I'm going to make some little
evergreens way back in the distance.

You could make these with
a one-inch brush, a fan brush,

a two-inch brush.

Anything. Anything that works.

You could even make them
with a knife.

Load the brush full of paint.

Look at the amount of paint
that's in that brush.

It's really full.

OK, let's go right up here.

Now, then, maybe there's some
evergreen trees

that live back here.

Touch. Take just the corner
of the brush.

See, there?

There they are, these little trees
live right in your fan brush.

All you have to do is just sort of
push them out.

There.

That easy.

That easy.

And as many or as few as you want.

I'll show you a little trick.
I'll show you a little trick.

It's fun.

If you have a bunch of evergreens,

you don't want to sit and make
each one independently.

You can just gob
on a bunch of colour.

Just drop in a whole bunch of
colour.

Like that.

I'll tell you what, let's have
some on the other side, too.

We don't want it left out.

All we're doing here is just tapping
in the same dark colour.

And, then, I'll show you
what you can do with that.

Why, I know you're saying already,
"Bob, you've messed this one up."

You may be right.

You may be right.

OK.

Since the only thing that you're
really worried about

with these little evergreens
is the tops,

you can put all that in
at one time.

And then come back and all you have
to do is decide

where the tops live.

See, there?

There they go.

There's another one.

And you can turn this into a whole
forest if you want to.

As many or as few as you want.

Just drop 'em in.

Now we'll put some highlights
on these trees,

and that's where
you'll separate 'em.

That's where they'll become
individuals.

Maybe there's some way back here

and all you see
is just little indications.

Just little tops.

But you don't see a whole bunch
of detail,

just little indications.

Just here and there.

And then we come back.

Why, look at all those.

As I say, you could paint an entire
forest in just a few minutes.

In just a few minutes.

There's one. I knew he was there.

There he is.

Just drop him right in there.

And maybe we'll push
a little colour into there.

You could even grab and pull up

to make 'em look like they're
really, really far away.

And it sort of gives the illusion,
these are closer

and those are farther away.

And, once again, that's one
of those little tricks

that helps create the illusion of
depth and distance

in your painting.

And, of course, we're not interested
in that happy buck

but, should you be, this is what
sells your paintings.

I get so many fantastic letters
from people all over the country

that are painting, they're having
unbelievable success,

and they're selling their work.

And the selling of the work
is not important.

What's important is the fact that
someone is willing to pay you

for something you created out of
your mind, with your hand.

It does wonderful things
for your ego.

Forget about the pocketbook.

That's not important.

It's really not important.

It's what it does to your heart.

It's what it does to your
confidence.

I can remember,
oh, maybe 25 years ago

when I sold my first painting,

and I think I only got about
20 for it.

I'd paid that much
for the frame that was on it.

But I went home. It gave me
so much confidence.

I went home and probably painted
25 more paintings

that I couldn't give away,

but it was the fact that somebody
wanted my painting

enough to pay me for it.

It really inspired me to paint,
and it'll do the same thing for you.

OK.

Tell you what, while I've got that
old dark colour going here...

Same old colour.

..I'm just going to begin adding in
some little things like this.

All I'm doing is tapping down
with a two-inch brush, here.

Just tap downward.

Now we begin making some
decisions here.

Where is our land going to be?

And you need dark in order
to show light.

So, all we're doing here is just
adding some dark colour.

We're going to come back
and highlight everything,

separate all this
and bring it all together.

Maybe down... A bit like so.

Whatever. Whatever.

Wherever you want it.

Let me get a little more
paint here -

the blues and the blacks
and the browns and the greens -

and just mix 'em with the brush.

Yeah, you're right. Right there.

There's another little thing.

And, that easy,
you can begin creating

the lay of the land.

And by "lay of the land,"
I mean the way the land flows.

Just however it flows.

This is another one of those big
decisions you have to make.

In your world,
how does the land...?

Has it got a lot of bumps in it?

Is it smooth? Hilly? Flat?

If you're going to put water
in your paintings, as you know,

it's better to have a recessed area.

Because water goes to a low area.

It won't stay up on top.

It goes down to the lowest area.

Water is like me, it's lazy.

It looks for the easiest way
to flow.

So, you need to indicate
that the land is higher

than the water,
or it won't look right.

There.

Now, you could have really done
this with a paint roller.

Would've worked just as well.

OK. Now we can come back
and begin putting in

some of the little detail things,
the fun things.

I'm going to take some Dark Sienna.

Dark Sienna, a little bit of white,
a touch of that blue.

Not much blue.

OK, pull it out real flat again.

Cut across once again.

That little, tiny roll of paint
that's so important.

Now then, maybe, back in here, we
can see a few little tree trunks.

Just here and there.

Maybe you can't see one
in every tree.

And you can just cut through
the paint

and let some of the white
of the canvas show through.

It'll create the indication of
hundreds of little sticks

and twigs.

And people will think you worked
for weeks doing all that.

And don't you tell them any
different.

That's our secret.

There we go.

Don't let the cat out of the bag.

OK. A little trunk in this tree,
and then just touch.

The canvas will pull off
what it wants

and give you back what's left.

It's that easy.

However many. It's up to you.

It's really up to you.

Painting offers you freedom.

Creative freedom.

I spent half my life
in the military,

and this is where
I made Bob's world.

This is where I came
when I wasn't playing soldier.

This is where I came
and found peace.

We'll wash the brush here.

There. Shake it off.

HE LAUGHS
There you go.

All right.

I get carried away with that brush.

Before I get into that, I'm going to
take the same old dirty brush

and go right into the yellow.

Now, this brush had the blue
and the green on it

so when I go into yellow I'm
going to get a dark green.

You don't even have to clean
the brush.

OK? Let's go back up here.

Let's just drop in an indication
of a few highlights.

Just on these trees.

And all I'm doing is touching
and pushing downward a little bit.

You don't want to put
too much in here

and kill all that beautiful dark
colour.

If you kill all that, then your
trees are going to look flat.

Just touch it.

Go just a little.

Evergreens are quite dark normally.

And, if you've watched
the shows before,

you know we don't make mistakes,

we have happy accidents.

You learn how to work with anything
and everything that happens.

All right, we'll put a little bit on
this old big tree right here.

A little here.

There we are.

Just some happy little things there.

Now let's have some fun.

I'm going to go right
into the Cad Yellow

with a two-inch brush,
and I'm tapping.

Can you see how that's tapping?

Grab a little Sap Green there.
Just a little green.

And we'll go into some Yellow Ochre
with a touch of the Indian Yellow.

We mix all of these in the brush.

OK? Let's go right up here.

Now, big decision time.

By tapping downward
right on top of that dark,

we can begin creating a nice,
soft, grassy area.

See, there?

It's that easy.

Tell you what.

Let's have some fun.

Maybe back in here...

..let's put a happy
little bush or two.

Use the one-inch brush.

And let's just push in...

Looky there!

See?

It's a happy little bush that
lives right back in here.

Right up against these trees.

Just like so.

Maybe we'll put one
on the other side.

What the heck. We don't want him
left out.

And you can put a lot or a few,

none, it's up to you.

Whatever.

Whatever.

And back to our two-inch brush.

And let's begin putting all this in.

Now, all you're doing here is
tapping.

Just gently, gently, gently,
gently tap.

Here we go.

See how you can create different
planes

and the whole lay of the land?

That easy.

That easy.

There.

Just let it fall
right off your brush.

Every once in a while,
I'm going to touch

the least little bit
of the Bright Red,

just to spark it up and
put a little fire in there.

And all these different planes
help show depth and distance

in your painting.

OK, there we go.

And the more you tap this,
the softer it'll become.

It will get very, very soft.

Let's go over here,
on the other side.

We don't want him left out.

See how easy?

Just tap.

But the lay of the land,
the angles,

are the most important
thing here.

Don't lose sight of that.

Don't lose sight of that.

OK.

Here's a big old blob comes down
and comes around.

Just like that.

Say, if you want to show
a different plane,

lighten the colour a little,
then drop it in.

OK, just layer after layer
after layer.

I would strongly suggest
you start in the background

and work forward.

That's sort of a good rule of thumb
in this style of painting.

Always start the thing
that's farthest away

and work forward.

And I think you'll find it works
much easier for you that way.

Now, then, let's take
a one-inch brush,

whatever you have.

I want to just pull
some of this colour down.

Just pull it down.

Just pull it straight down and you
can create all kinds

of little things and just go across.

It makes reflections.

I'm going to make this like moving
water,

but even in moving water
there's reflections.

They're still there.

Now, if you wanted to have
a little pond -

this easy - you could create
a happy little pond

just pulling a little
of that colour down.

Cutting across.

See? Wherever you want it.

Now, then, I'm going to
dip my brush.

I have another fan brush. I have
several of each brush

so I don't have to clean each one.

Dipped it right into
the Liquid White

and now I'm going into
the Titanium White.

I'm going to load the
brush quite full,

reach up here and put
the least little touch

of the Phthalo Blue in it.

Now, then, here comes our
little stream.

This is not a fast stream.

Maybe, before the series is over,
we'll do a fast stream.

This is just one that's sort of
just like me - it's lazy.

It just wanders along here
and has a good time.

Just like so.

And you just sort of scrub this
brush across.

But you want to keep these lines
basically straight,

basically straight.

And this is how you cut off
the bottom of your landmasses,

bring it all together.

Just like so.

See how easy that is?

And you can do it.

You really can do it.

Wherever.

Come right on out through here.

See? And allow it to pick up
some of that colour

and it all blends together like so.

That's all there is to it.

Isn't that fun?

I really hope you've enjoyed this
painting.

The old clock on the wall is telling
me it's about time

that we've got to bring this one
to a close for the day.

It's been a lot of fun.

I've certainly enjoyed
being with you.

And I hope you've enjoyed
the painting.

From all of us here, I'd like to
wish you happy painting.

And God bless.