All language subtitles for The Joy of Painting - 2x13 - _track3_[eng]

Hello, I'm Bob Ross,

and I'd like to welcome you to this,
our seventh Joy of Painting series.

If you've painted with us before,
I'm certainly glad to see you again.

If this is your first time with us,
I think you'll really enjoy

this fantastic wet on wet
painting technique.

We'll use about a dozen colours
some sort of unorthodox brushes,

and we'll have a lot of fun.

And each week,
we'll do a fantastic painting here.

I hope you drag out your
paints and your easel,

big glass of iced tea and
you sit down and you join me

each week and learn
the joy of painting.

So, I tell you what I'll do,
let's have them

graphically run all
the colours across the screen that

you need to do the painting
we're going to do today.

And they'll come across your screen
in exactly the same order

as I have them on my palette,

starting with the titanium white
and working around.

And while they're doing that,

let's talk a little bit about
what's been done on the canvas.

I've already covered this canvas
with a thin, even coat

of liquid white. This makes the
canvas wet, makes it slick,

it allows us to actually blend
colour right here on the canvas

instead of working ourselves
to death on the palette.

Today, I thought we'd do a painting
that uses a very limited palette,

in other words, only a few colours,

and I'll show you how you can do
a beautiful painting using only a

couple of colours, some big brushes
and let's go up here and do it.

I'm going to take off today and go
right into some Van Dyke brown.

We'll use this old big brush
and I'm just going to literally tap

some of the colour
right into the bristles.

I suggest you tap,
that way it gets a nice even

distribution of colour all
the way through the brush.

See there, both sides
nice and even.

Good, let's go up to the canvas.

Let's start out today right up here

and we'll make little X patterns,
little crisscross strokes.

Just...

This is the way the teacher used
to grade my paper in school.

Well, she'd go through it
and make all these big Xs.

That's the kind of grades I got.

There we go.

Now, this colour is blending
with the liquid white

and automatically,
beautiful things begin happening.

Continually keep this brush moving,
don't stay in one spot

and just work the colour dead.

We want some life in this sky.

There we go, just keep it going.

Now, as we work downward here,

maybe we'll put a little bit
of warmth down here.

This is going to be the horizon
area right down in here.

So I'll go right into a little
bit of dark sienna,

without cleaning the brush,
and tap a little of that

right into my bristles,
just a small amount, all right.

watch here now.
We'll go right up here,

and with that colour
I'll blend sort of upward.

So we have a nice warm colour
right at the horizon

and it goes up
into the Van Dyke brown.

A little more colour.

And let it work upward.

Ain't that fantastic?

Now, while I have this old dirty
brush, it has all the browns on it,

I'm going to take and add a
little touch of yellow ochre to it.

So we've got the sienna
and the brown,

add a little bit more of each.
There.

Now, let's go ahead here
at the bottom of the canvas

and just have some fun.

Just pull that across.

This will end up being shadow.

I think today, we'll do a painting
that will have some snow in it,

and this will end up being
some shadows.

Now, very gently, very gently,

I'm just going to blend
this entire sky together.

Just blend it very lightly. This
just takes out the brush strokes.

But you don't want to kill all
the little patterns that you have

up in the sky, that's what ends up
being the interesting part of it.

OK, tell you what let's do,
I'll clean this brush.

And we clean our brushes
with odourless paint thinner.

And I really recommend that you use
odourless thinner

or you'll be working by yourself!

Your spouse will run you
right out of the house.

Shake off the excess.

I have a box down here
I shake the box into, then...

HE CHUCKLES

And that's, that's really the most
fun of this whole technique,

it's just raising Cain
with that brush.

Of course, it's also one of the best
ways to redecorate your whole room

if you're not careful.

Try to contain that part of it.

I'm going to take a big old
round brush here

and go right into some
titanium white.

We'll just pull it through there
and load it up.

Load it up.

Lot of paint, OK.
Let's go up to the canvas.

Maybe there's a big happy cloud
that lives in this painting.

And he lives right there.

See, just, just work that brush.

Let this old cloud
just float around the sky.

Let it have fun. Mm, there we go.

Don't stay in one place,
continually keep the brush moving.

Continually keep it moving.

There.

If you stay in one place
and just grind this colour in

all you're going to have is, well,

he's going to look like big cotton
balls up in the sky.

Now we'll take this big brush

and just very gently
blend the bottom of it.

Just blend the bottom of it.

If you've painted with us before,

in this series I'm going to
introduce you to some new brushes

and some new equipment
I think you'll really enjoy.

There we go.

Now, I beat this brush a little

and that just
takes off the excess paint.

Then we're going to fluff these
clouds. Look at there.

Look at this, look there.

Pulls up all those beautiful
little stringy things.

And don't worry if you pull up
big stringy things here

because when we blend this,
they'll go away

and they end up being the nice soft
fuzzy edges of your clouds.

See there?

OK, and maybe you want,

maybe you want several layers
of clouds in your painting.

You can do easy.

Just load a little more paint,
come right in here...

..and drop in another
happy little cloud.

In your painting, you put
as many clouds as you want.

Just drop them in.

And clouds are very free,

they may be one of the freest
things in nature.

They just sort of float around
and have fun all day.

And think about that when you're
painting, think how free clouds are.

Paint your clouds that same way,

give them that feeling of looseness,
of freedom.

Just let them go. There.

OK, now then, maybe...maybe back
here let's have some little

background trees that live
all back in here.

Now, I've got
several of each brush going

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

I'm going to go right into some
Van Dyke brown.

And I'm just going to tap this
brush right in some brown

and right into the sienna.
Back and forth here.

We'll just sort of mix them
on the brush. See?

Really getting there and tap that
son of a gun. Work it hard.

Right, let's go up here.

Now, then, maybe right here
lives a happy little tree.

There he goes.

And he goes right on up.

Notice here, I've started
at the bottom and worked upward.

That way, it's darker at the bottom
than it is at the top,

so you have the illusion of dark
shadows down at the bottom.

OK. And just put in some very
basic little shapes.

You're not looking for,

you're not looking for
distinct shapes at this time.

Later on, we'll begin
worrying about very distinct shapes.

Right now, we're just blocking in.

Maybe here lives... Oh, lookie here,
he's a little taller.

Little bit taller.

There we go, see how simple that is?

But keep the dark colour
down here at the base.

And this is what
really makes it fun,

just sort of,
just sort of let these things go.

We'll have another little
tree right here.

Keep it very dark at the bottom

and begin forming some basic shapes,
very, very basic.

Oh, my gosh, I got to talking there

and my little tree
turned into a big tree.

We may have to nail another
canvas on top

because we haven't enough room
to cover all this.

We'll give him a
little friend here too

and some up here maybe
that are very light.

Very light.

Very light,
just barely can see some of them.

Look at that.

In that super way, we'll throw in
some happy little background trees.

There we go.

Now then, tell you what,

set that brush down, and I'm going
to get a number 2 script liner brush

and go into a little bit
of paint thinner,

and right into my dark colour here.
This is just the browns.

Turn that brush.

You want this paint to be just like
water, very, very thin, very thin.

Turn it and pull it out. That'll
bring it to a beautiful sharp point.

OK, let's go up to the canvas.

Now then, I want to put in some
indications back here

of just some little tree trunks,
some little stems.

And all we do is just
quickly drop them in.

Since this paint is very thin
and very wet,

it slides over the thicker paint.

This base paint is very thick.

It's a very dry, thick paint.

Now, the thinner paint will just
slide right over it. Look at that.

Look at that.

There.

OK, I'll put a few in here
and there, wherever you want them.

Just sort of take
a look at your trees

and decide where you think little
trunks should live and drop them in.

There's a little indication
way back here of one.

I think you're really going
to enjoy this series.

On this series,
I'm going to bring you a couple

of special guest artists.

I have one guest artist
that you might have heard of.

He's a fantastic painter, he's one
of the best painters in the country,

and I'm very proud in this series to
bring you a man named Ben Stahl.

And I hope you've heard of Ben,
he is unreal.

He's one of the best painters
in the country and he agreed to come

and do a demonstration for us.
So you'll see him in this series.

OK, tell you what let's do,

let's build a happy little
tree trunk in this big tree.

And for that, I'm going
to take brown on the fan brush.

Load both sides.

There, you can see it,
both sides are very full.

This is Van Dyke brown.
Let's go up to the canvas.

Hold the brush straight
into the canvas, touch it.

As you come down, add more pressure.

Make it get bigger
toward the bottom.

Ain't that a super, super way
to make a little tree trunk?

It's that easy.

There's nothing difficult about it.

Now, let's put some
highlights on this.

We want this tree trunk
to stand out and be strong.

I'm going to take a little bit of my
yellow ochre, a little sienna,

and we'll blend that together
with a touch of white.

Like so. Now, I'm going
to take the knife and cut across

and get a little roll of paint right
out on the edge of the blade.

See there?

OK, let's go up here.

Now then, if our light's
coming from the right,

and if you're right handed
that's normally the easiest.

Touch, give it a little pull,

just let it sort of bounce
across there, just here and there.

Just let it bounce.

Here and there.

There.

OK.

Now, I'm going to take some white,
this is almost straight

titanium white, because I want this
edge here to really stand out.

This is almost straight
titanium white.

There was a little bit of the colour
left on the blade but mostly white.

There we go.

Now then, we'll take a little
bit of liquid black.

A little liquid black
and take my liner brush again.

And I've put a little
paint thinner in

to make it even a little bit
thinner.

OK, let's go up to the canvas here.

And with that, we're just going
to very quickly throw in

a few happy little
indication of some tree limbs.

It's all there is to it.

See? That paint's very thin
and it flows.

It'll absolutely flow.

There.

And have as many limbs
you want on your tree.

Maybe there's one that
hangs down here and there, whatever.

And we can go right into some
liquid white and go right back over

and throw just a hint of some
highlight here and there.

Like, maybe there's a little snow
laying on top of some of these.

There. That gives you
an idea of how to do that.

Let's put some highlights on these.

Maybe there's a little snow that's
been captured up here in the,

in the limbs.

So I'm just going to take
the old round brush here,

put the least touch of yellow ochre
in here

and just tap in
a little bit of colour.

Just like so. Just tap it in.

OK, let's go up here to the canvas.

Now then, just barely,
barely going to touch.

And just begin forming some of the
basic tree shapes here that we want.

Just some basic limbs.

Look at there.
See how easy that is?

Don't over do.

This will start working
so good for you, in a heartbeat,

you'll cover your whole tree.

And you don't want to kill all
the beautiful dark colour that

you worked so hard to put in there.

Just here and there.

Just let some of these little
things to just fall in there.

The least little touch of the
yellow ochre though, not much.

Not much.

Just to kill the white.

All right.

Now, while I have that
colour on the brush here,

let's begin laying in some
snow right here.

We can just use this brush
and... There.

All I'm doing is laying a little
colour right on the canvas.

We'll come back and clean that up
with another brush.

Might as well use it
while we've got it here, though.

This is where we begin determining
the lay of the land.

Allow a little of that colour
to pull right down in there.

That'll end up being some
nice shadow areas.

And back into my browns.

And let's just pop a few happy
little bushes. Look at there.

See? Already that begins to create
the lay of the land.

Shows you which way the land flows.

Maybe there's a big old bush
that lives right there.

Make it look like this little thing,

it goes back into the distance
there.

And this is what helps create
the illusion of distance

in your painting.

All right.

Now, I'm going to take a fan brush,
it's a number 6 fan brush,

and very lightly,
I'm just going to grab these edges

and begin working
on the lay of the land.

See how you can just pull
that colour out

and it makes it look like there's
a shadow right there.

And you've hardly done a thing.
Just like that.

There we go.

There's a little bit, pull that.

And you can always take
and add just a tiny bit more

if you want you shadows to be
a bit more distinct

and make all kinds of beautiful
little things happen.

Look at the amount of distance
that we've put in here

with just a few strokes.

You can see all the way
back in there.

It's very soft and very gentle.

Tell you what, now,
if I was in a place like this,

I'd want to build a
little cabin out here.

So let's have some fun today
and build us a happy little cabin.

I'll start out with the Van Dyke
brown, pull it out very flat,

cut across and we get our little
roll of paint again.

Always get that little roll
of paint. Let's go up here.

All right,
and maybe the cabin lives...

Yep, you're right,
he lives right there.

We'll do that back eave,
there it is.

And then we're
going to come in here

and put the front in.

There's many,
many ways to paint cabins.

This is just one of many.

And during the series, we'll show
you several different ways.

Let's paint the other side.

We're going to leave the roof
off right now,

we're going to come
back later and put the roof in.

There.

See, all we're looking for right now
is just, just the front...and,

and the side there.

Here we go.

That easy. And let's have some
boards in our cabin.

Here we go, got a little hair
on there so I'll just pull him off.

Now, we'll take some white,
some of the dark sienna...

..and a little, little, tiniest
little touch of the Prussian blue.

Make sort of a nice,
warm grey colour.

And a little darker.

There, cut across it, a tiny little
roll of paint. Let's go up here now.

Now, grab it
and gently come across very lightly.

Barely, barely caressing the canvas.

Just let the paint break.
If you've painted with me before,

this is about the same as putting
snow on the mountain.

Just about the same.

Now, to that same colour
I'm going to add a little more white

because I want it to be
a little lighter on the side here.

Our tree says our light's
coming from the right.

So very gently,

we'll decide where our side is here.

Just a little bit lighter.

OK, now then, tell you what,

let's put some slabs
or some boards in there.

Now, I've got a little
bit of brown on my knife and here,

all I have to do
is just touch the canvas...

..and begin laying these in.

And this guy that built this cabin,
he was about as much

of a carpenter as I am, some of them
are fat, some are skinny.

It's an old cabin,
it's had a hard life.

See there? That easy, that easy

you get the side of your cabin.

Now, now we get to put
a little roof on there.

The guy that's living in there now,
he's, he's at chill city,

he's getting cold.

Let's go up here.

Touch, pull and bring it down.

Look at that.

OK. Touch, bring it down.

Touch and bring it right down.

Isn't that fantastic?

That easy you can build a cabin, I
wish it was that easy in real life.

There.

And put a little snow
on the other side like so.

And we've got a cabin.

Except, we need a way
to get in and out of it.

So right here,
let's put a little door.

Little door.

And I'll take a little
bit of the light colour

and just work around it,
give a little highlight.

Tell you what, tell you what, let's
put a window in this little cabin.

We'll use a little of the brown
and we'll use a smaller knife.

It makes nice little things.

It's a lot easier to
get into these small areas.

There.

And...

..let's give the indication,
maybe there's a little glass

left in the window.
Touch, give it a little pull.

There's a little Prussian blue,
little Prussian blue,

just a touch, don't overdo.

Don't over do.

Work a little bit here like that.

And if you wanted to,
use a little tiny edge here,

put a little chimney.

Use a touch of the bright red.

Not much, it's very strong.

Put a little red on there,
maybe nobody's home today.

There,
a little bit of snow on the roof.

OK, let's have some fun now.

We got us a little cabin,

I'm going to grab the bottom here

and begin pulling this out, helping
to create some shadows once again.

There we go.

Now, maybe...

..maybe, I tell you what,
I'm the world's worst lawn keeper,

and I believe this guy
probably was too.

Let's go up here.

Maybe, maybe he didn't cut his lawn

and there's a huge big weed lives
right here in front of his house.

It comes right on down,
wherever we want it to go.

Yes, sir, he takes care of the lawn
about like I do.

I get in more trouble about that.

There we go.

Just put some happy little weeds
here and there.

Tell you what...

..we'll take some of this brown,

pull it out flat, cut across,

get that little roll, OK,
maybe there's a happy little fence.

Little snow fence-type thing
and it lives right there.

Now, a super easy way to make
a beautiful little fence,

maybe it's sort of falling down.

We'll take a little
bit of light colour,

and this is just sort of the brown
and the white.

Just touch. Touch.

Little tiny bit of the blue's
in there too.

Makes it look a little bit colder.

There we go, just drop that in.

Now, with the small edge
of the knife,

just going to go along here
and just barely, barely touch,

put the indication of maybe
a little bit of snow

that's laying up here
on top of them. Look at that.

Now run into the liquid white,
and cut across it with a knife

and just use the heel of the knife,

and we'll put a little bit of wire
hanging on there.

Look at that.

Look at that. That easy.

Lookie there. I used to use
a one hair brush

and work myself to death
trying to put wire on there.

We try to show you the
easy way of doing things.

Use the old fan brush,

we'll pop a few weeds
up around here,

maybe there's a few
coming down here,

wherever, let them go.

This is just a fun little painting.

And we'll go back with a
little, with the white

and I want to grab some of this
brown and turn it into shadow

because it's a little darker
back behind there.

And just let this work,
let it work, let it play.

See?

Look at all the beautiful little
effects and, once again,

this is the way, this is the way
that you create the lay of the land.

Look at that.

There.

A little bit right there,
cos the sun would hit right there

in my mind, it would strike right
there and be a little bit brighter.

And we'll put a little bit
right under this here.

And you can't make a mistake
with this, if you put

a weed in here that you don't like,
you just turn it into shadows.

It's that easy.

There we go.

Just think where a little light
would hit, let your fan brush

just play right across
there and sparkle and have fun.

Now...

..let's brighten that
one up right there a little.

Maybe, maybe, yeah, right here,
it's another big old one.

And each one of these represents
another plain in your painting,

it makes it deeper.

And each plain really helps,

really helps make the painting
look like it has more depth.

There we go, we'll drop in a happy
little shadow right in here.

There he is, wherever you want him,
you can pop him up.

Now then, I'm going to take a little
bit of paint thinner

on my liner brush
and go into my brown.

Bring it to a nice sharp point.
OK, let's go up here.

Maybe there's a few happy
little sticks

and twigs that live around here.

This is also a super, super easy way
to make little beach scenes.

If you ever want to paint the ocean
with a happy little beach,

this works very, very well.
The same principles.

You know what? I'll bet you...

Let's take...

I bet this old fella had a fence
out here one time.

And there might be
a little bit of it left.

Right there.

It just about fell down but
there's still a couple of them...

Oh, tell you what,
right there, right there.

This one is really fell over.

Hard life.

And we can take a
little bit of white

and a touch of the yellow
ochre in it,

and I'll just put the least
little indication

of some highlight on that.

Just like so.

Maybe, maybe... There!

One old post still trying to
hang on. One rail, right there.

One rail, there it is.

Now then, we'll take the fan brush

and just pop up some happy little
things right around the foots here.

See, now we can begin...

Maybe, back of there.

This is where you can go in and put
in a few little finishing touches.

See, each different little layer
you put inside of this helps create

the illusion of distance again.

I know you're probably
tired of hearing me say that by now.

But it really is what makes
paintings interesting.

Just the fact that they have depth
to them, that they're not just flat.

You're working with a two
dimensional surface trying to

make a three dimensional painting,
so you have to use illusions,

light against dark,
dark against light continually.

That's what makes it work.

It's what makes
your painting pretty.

We'll put a few of these
little weed things here

that come right over the top
just like so.

And you can do a few of these using
a little of the liquid white too.

See how they stand out
against the dark? That easy.

Lookie there. Beautiful, beautiful,
beautiful. That simple.

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

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

and go right into my bright red.

I like oil because it's very slick.

You can use thinner, but oil to me
works a little nicer.

Turn it and let's go up here
and we'll sign this...

Let's sign it right here.

And I certainly hope
you've enjoyed this painting.

It's been a lot of fun.

I look forward to seeing you

in the very near future
for the next show

and hope you become
a regular viewer with us.

And from all of us here, I'd like to
wish you happy painting. God bless.