All language subtitles for The Joy of Painting - 2x26 - _track3_[eng]

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

Today, I thought we'd do
a fantastic painting

that has some big,
almighty mountains in it,

maybe some big trees, and let's
just start and see what happens.

Let's start off and have them
graphically run

all the colours across the screen
that you need to do this painting,

and it will come across,
starting with the titanium white,

and working right around.

While they're doing that,
let's go up here.

I've already covered the canvas with
a thin, even coat of liquid white,

and it's wet and slick,
and all ready to go.

I thought today we'd start out
with a touch of yellow ochre.

Just a touch.

Just tap the brush
right into the paint.

OK, let's go up here.

Now, then, I'm going
to start right up in here,

and just use
little crisscross strokes.

Just put a small, small amount of
this yellow ochre just in the sky.

Just let it sort of
bounce around and play.

Just like that.

OK.

Now, to that I'm going to add
the least, least

little touch of alizarin crimson.

A very, very small amount.

See what a small amount is on there?

A tiny bit, OK? Let's go up here.

Now, I'm just putting
a little alizarin crimson

right along the edges here.

In reality,
this crimson acts as a barrier

because I'm going
to have blue over here.

If the blue touches this yellow,

you know - you're going to have
a bright green sky.

We don't want that today.

OK, so just a little crimson.
It just protects the yellow.

Now, then...

I'm going to take and go right into
the midnight black,

and Prussian blue.

These are two strong colours.
Be so careful.

Let's go back up here. Now...

..just bounce in a little of that.

Still making the little
crisscross strokes.

Just the way the teacher
used to grade my paper.

Little Xs all over the place.

And maybe there's
a little bit right here.

OK. I'm going to have some water
in this painting.

I am an absolute fanatic for water.

So, we'll take...

..the phthalo blue,
a tiny little bit,

and to that I'm going
to mix a little phthalo green.

So, phthalo blue and phthalo green.

Let's go right here.

And just pull it across. Use very
little of the phthalo green.

It is so strong. So strong.
And pull from the outside in.

Leave a little area open in the
centre and it'll look like a little

sheen of light coming across your
water when the painting is done.

All right.

Now, then...
Let me just grab a clean brush.

I've got several of these
old brushes going,

so it saves me some time.

Be sure your brush is good and dry,

and start in the light area,

and begin blending outwards.

Still making those
little crisscross strokes.

Just blend it all together.

There we go.

So, you just have a small,
small amount of yellow in the sky.

Put a little bit more
of the yellow in the sky

when you initially start than you
want, because it will be ate up.

These other colours
will just sort of eat it up.

I'm going to take a little
bit of titanium white.

Into that, at the least
little touch of bright red.

The least little touch. Cut me
off a little hunk. Let's go up here.

Maybe there's a happy
little floater cloud.

Just sort of lays up here in the
sky. Just put these on with a knife.

Just push them right into the
fabric. Little floaters.

There they go.

Just show you how to make those.

We take our two-inch brush, and
very lightly, following the angles,

just lift them.

I hope you can see those,
they're quite light.

I don't want very bright clouds
in this painting.

But when you are doing yours,

if you want the cloud to stand out
a little more, and a little colour.

It's easy to do.

Let's build us a mountain.

Let's start with some Prussian blue,

some Van Dyke brown,

some alizarin crimson.

Just a small amount
of alizarin crimson,

unless you want purple mountains.

Little roll of paint
right on the edge of the knife.

Let's go right up in here. We'll
make some big old huge mountains.

Look at there. We push
that paint into the canvas.

Push it right into the fabric.
You're not going to hurt this.

There's really not much paint
on the knife.

Push it.

Just try to push it
right through the canvas.

And then scrape off all the excess.

The more you can scrape off,
the easier the next step will be.

Really, really scrape hard.

Then take a large brush,
grab it, and pull.

Because this canvas is wet
with the liquid white,

you can move this son of a gun
wherever you want it.

If this was a dry canvas,
this wouldn't work,

or you'd be in agony city.

There.

Just pull it, like that.

And just let it blend
right on down until it's just

sort of hanging there in the mist.

The only thing you're worried about
at this point

is the nice outside edges.

You could really care less
what's happening below them.

OK. I'm going to take white,

pull it out as flat as I can get it,

and cut across.

Let's do that one more time
while the camera is close

and you can see it. Pull it out
very, very flat, and cut across.

Get that little roll of paint.
It's so important, so important.

Let's go right up here.

There.

Now, just barely
touching the canvas.

Barely touching the canvas.

Just allow that to float
right off your knife.

No pressure, absolutely no pressure.

Just let your hand
just sort of float.

Pretend you're a whisper
floating across here.

This is probably one of the biggest
problem areas that people write

and tell me they're having,
is making this paint break.

And by break, I mean leaving
all these little holes in it.

99 times out of 100,
one of two things is happening.

You're using paint
that is too thin,

or you are applying
too much pressure.

So you need a firm paint,
and no pressure. They work together.

They work together.

And that's what allows you
to do all this.

There we go.

And you can just put as many

or as few of these things in there
as you want.

Let's take a little phthalo blue
and white, just blue and white.

Right like that.

Pull it out and cut across.

Once again, you need that
little roll of paint, OK?

And let's go back in here

and begin dropping in some
beautiful little shadows.

Notice the angles.

The angles in the mountains
are very important.

Your highlights
go in one basic angle,

and your shadows
go in another angle.

See?
All kinds of little things in there.

All kinds of little, little places.

You know, there's maybe
a mountain goat lives up here,

and he needs a little place to hide.

Keep from getting cold at night.
Give him a little place up here.

There.

There we go.

Just like so.

As many as you want.

Anywhere you want to create
the illusion of a little ridge,

all you have to do basically
is drop in a little shadow.

That's all.

These are your mountains,

and you can do anything
in these mountains that you want.

Anything.

Anything.

Total freedom here. OK.

Now, take a clean, dry,
two-inch brush

and I want to diffuse this,
so I am tapping very lightly

and following the angles
of the mountain.

Always follow those angles.

There.

Over here, you follow these angles.

Whichever way the paint goes,

that's where you want these little
taps to go. Now, lift upwards.

Gently lift upward.

That takes out the little tap marks,
softens, blends,

and creates that beautiful,
beautiful misty effect

down at the base of the mountain.

And that easy...
That easy, you have it. OK.

Now, then, I just take an old
two-inch brush that's already dirty,

and I'm going to take
a little midnight black

and a little bit of blue.

A little touch of
Van Dyke brown into it.

We'll even throw in a tiny bit
of white. There we go.

Just tap that brush.
OK, let's go right up here.

Now, maybe...

Maybe we'll just touch in like that,

and create the illusion
of a few little grassy things,

little trees that are running
right up to the mountain,

way back in the distance here.

Far, far away.

And you can use a one-inch brush
and lift upward.

Just lift upward.

See there?

Looks like little trees growing up
the side of that mountain

far, far away.

Far away. Very soft.

All right. And, tell you what let's
do, let's just use that same colour.

Van Dyke brown,
black, blue, a little white.

Let's go right in here,

and maybe there's some
beautiful little foothills -

just with the corner of the bash,
using just the corner.

You can create the illusion
of all kinds of little foothills

living right here.

Look at there.

See there? That easy.

Now, then.

With a clean brush, I want to create
the mist at the bottom of these.

So just tap. Give it a pretty
strong tap and lift upward.

That easy. That easy,
we got a little footy-hill.

Now, then, let's take the round
brush. I like it, it's fun.

Go into some Van Dyke brown,
a little bit of dark sienna

and just mix them on the brush.

I'm going to throw in a touch of
sap green, too. Just tap, OK?

Let's go back up here.

Now, maybe we're getting
a little closer,

we're beginning to see more colour,
more detail,

so we'll just tap in some
little background trees.

Just some little background trees,
they live right here.

Wherever you think
they ought to live,

that's exactly
where they ought to live.

There.

I can hear you say, "Oh, my gosh,

"he's made one heck of a mess
down here!" You may be right, too.

But what I'm hoping for,

because this canvas is wet
you can do this, watch right here.

You can grab this
and turn it right into reflections.

Just give it a little
gentle pull downward.

There. And then lightly go across.

Instant reflections.

This may be the nicest thing
that happens

with this painting technique.

OK, let's put a few highlights
on there.

I'm going into some cadmium yellow,

a little bit of sap green,

some yellow ochre. I'm just going
to mix these colours on the brush.

Just brush mix them.

All right, let's go back up here.

Now, just with the top
corner of the brush...

..just tap in some indications
of all kinds of happy little

things happening here. Little
bushes, little trees far away.

Don't put into much detail.
It's too far away.

When things get closer to you,
then you begin seeing

all the beautiful
little detailed things.

But back here,
you don't see all that detail.

So don't overdo it.

Sometimes that can be very
disturbing in a painting,

when there's too much detail in
something that you want to look

far away - it ruins that illusion.

There we go.

See? And layer these things.

Do one at a time and work
forward, forward, forward.

Helps create the illusion
of distance and depth in the bushes.

You know, those little tree urchins
have to have a place to live.

Tree urchins are squirrels.

They've got to have a little place
back here to hide.

So, you don't care

if a little bit of this yellowish
colour gets down into your water

because all you do is take it,

pull it down also, and it becomes
part of the reflections.

And really, really makes
your painting look a little better.

Learn to work with whatever happens.

We don't make mistakes.

We have happy accidents.

Happy accidents.

Take a little brown
and white right here.

Cut across it,
get that tiny little roll of paint,

and let's just put the little
indication of land right in here.

Just a little - I don't want a
bunch. Just a little. Far, far away.

Far away, like so.

There we go.

Just barely touching the canvas.

Allow the canvas to pull off
what it wants.

Take a little bit of liquid white.

And with that, we can just cut
in the indication of a happy little

waterline, and this waterline,
it tends to clean up

the bottom of your little bushes
and trees back here.

And it gives you a light area in
between the dark, so it separates.

In painting,
you're playing light against dark,

dark against light, continually.

That's what makes it work.

All right.

Now we can come into the foreground
here and really start playing.

Let's have some fun.
Let's get crazy today.

I want to take some brown,
I'll throw in some Prussian blue,

some sap green, some black -

anything that's dark -
we don't care.

What a mess. Clean this knife off.

That's certainly dark.

Now I'm going to take
the two-inch brush

and just go right into the paint,
and wiggle it.

This is just an old, dirty brush
that was laying there.

Wiggle, see? Wiggle it.

Wiggle, wiggle it, wiggle it.

And then sharpen it,
just like you would a fine knife.

See there? Now, look how sharp
that is. There you can see it. Woo!

That's just like a razor.
That's a chisel edge.

OK, let's go up here.

Now, with this super sharp chisel,

let's have a happy evergreen
that lives...

Well, he sure does now -
right there.

Sometimes we avoid this old big
brush, but look what it can do.

It makes the most beautiful
evergreens.

Don't be afraid of this two-inch
brush. Jump in there and use it.

Play with it.

It comes to a super,
super sharp chisel edge,

and you can do this with it.

It might make
better looking evergreens

than some of the smaller brushes.

They have a lot more character
to them.

Come down to about right there.

Now, then...

..I'm going to take my knife,
take a little of this dark sienna,

a little white into it,

pull it out, cut off
a little bit of paint...

..and let's create
a little tree trunk.

You don't see the entire trunk.

Just here and there where
you think you might see it,

a little tree trunk.

OK, I'll use this same old
dirty big brush.

I'll go right into some of
the cad yellow.

Now, since we had a little
blue in that colour,

automatically, this
is going to turn green.

Beautiful green colour.

Bring it back to a chisel edge.
Let's go back up here.

Now, then,

let's just put the indication
of some highlights

in this big old tree -
some nice, bright spots.

That easy, and you have
a fantastic little evergreen.

OK.

Lay the old brush down here.

I'm going back to the round brush.

We'll go into our browns.

This is the dark sienna,
the Van Dyke,

and let's have some fun
right in here.

In here, we're... Oh, look here.

Here comes a tree.

Look here. A big, strong tree.

He lives right there.

All we're doing right now is putting
in the basic shape for that tree.

Just the basic shape.

Isn't it fun?

I like this old round brush. You can
just tap in all kinds of things.

OK, we'll take the liner brush,

and we'll go into
a little paint thinner.

Right into some brown.

A little thinner will thin your
paint down till it's like water.

Turn that brush, bring it to
a point. We'll go right in here...

..and just put the indication
of a happy little tree trunk.

You could also do this with a knife
if you wanted to.

However you want to put it in.

However.

I tell you, I tell you what,
let's tap a bit more of this

brown in here -
I bet over here on this side,

would be a good place to have
another little tree,

while we got it going.

Let's just put one right in here.

Hmm!

See how easy that is?

You can just put in
all kinds of little things.

Now, I see a reflection.

Right here, right here. Watch.

See? Just pull it down.

Once again, because
the liquid white's under there,

this is so easy -
instant reflections.

Instant reflections.

Now we can put some highlights.

I'll just use
the same old dirty round brush,

we'll take some
yellow, a little green,

Indian yellow, yellow ochre,

just touch. OK? Let's go up here.

Now, just using the top corner
of the brush,

all you have to do is
just gently, gently tap -

just tap.

See? Put all those
little highlights.

Makes the indication
of thousands of little leaves.

I used to take my one-haired brush
and spend days

trying to get that effect!

Absolutely days.

There we go. Just begin...
Just begin picking out

little shrubs and bushes.

Little places
that the rabbits would hide.

There we go.

Birds have got to have a place
to go and feel comfortable.

I'm a bird fanatic. I like birds.

I spend all my money on birdseed,
and feed all of them in the country.

But that's OK. That's OK.

When the birds take over,
I'll have a friend.

There.

There we go. Tap that right in.

See, just layer after layer -
however many you want.

However many you want.

OK. I'm going to have some fun
right in here.

Maybe there is
a happy little cabin there.

I like doing these little cabins,
and they're so simple.

Cut off a little bit of brown.

Pull it out flat, and get that
little roll of paint.

OK, let's go up here.

Maybe this little cabin
lives right here in the woods.

Wouldn't it be a super place to have
a little house, to come and hide?

OK, let's give him a roof. Zoom!

And need a little front
on the cabin.

Both sides. See there?

Just a quick little happy cabin.

And, a little bit over in here.

This is just Van Dyke brown
and dark sienna just mixed together.

OK.

Then we can take a touch
of brown and white

and throw a little highlight
on there.

A little on this side. Zoom!

Just a touch. Just a touch.

Boy, that's a rough-looking
old cabin.

Hunter built this one
a long time ago,

when he was out here. Maybe there
was a beaver lived out here

and he came out here
and trapped the animals.

Maybe one day he had
a couple of drinks too many

and fell off into the lake here!

And the old cabin
just sort of went back to nature.

Let's take a little
of that same brown colour,

let's put some little happy things
up here on the roof.

Just touch and just
sort of let it bounce down.

Like that. Take the least
little bit of white...

..and maybe just sort of highlight
this edge,

so it just stands out a little bit.

Just so it stands out a tiny bit.

That old cabin has seen
its better day.

Now you can cut it off, see?
You can do a cabinectomy.

Just sort of zip off
whatever you don't want,

work out your perspective.

Then we go back to our round brush,
and let's have some bushes

and weeds that
are growing up all around.

He didn't cut his grass
very good either.

OK. Some more brown.

Maybe there's some happy stones
that just live right in here.

A little path.

Just all kinds of little stones.

Little brown and white
for some highlight.

Don't cover all your dark.
Just sort of hit it here and there.

And we will take a fan brush.

A little yellow, a little green
on it, just mix it up real good.

A lot of paint. OK?

And come back in here.

We'll put in some little happy
grassy things all around in here.

Look at that.

All kinds of little things.

While we've got
that old brush going,

maybe there's some over here,
too.

So we can sort of flatten this area
out just by putting some

little grasses right in there.

Right in there.

And we will put a stone or two.
There's one.

There's one.

Just touch it with
a little highlight colour.

Going to have a little grassy
area - I'm adding a little

touch of the bright red in there,
just to sparkle that up.

There, see how those stones
just stand up in the grass?

Isn't that easy?

We really try to make
painting fun for you.

Fun and easy,
and I think it's working.

We get thousands of letters
from people all over the country

that are telling us they are having
unbelievable success.

Here, I'm using a little bit
of liquid white.

Just put in
a happy little waterline.

With the point of the knife, you
can scrape in a few little sticks

and twigs, wherever you want them.

And, as usual,
Bob's going to put in a big tree.

I like big trees, as you know.

Let's take the old fan brush,
load it full of brown,

a little midnight black,

and a big tree... Shooo!

..lives right there.

Boy, that is a big tree
when you have the canvas vertical.

That's up and down.

There, a big tree. Black and brown,
just to give it a nice, dark...

Mm!

Maybe there's a little tree here.

See? You can just make as many trees
in your world as you want.

There we go.

Now we can take the knife,
we'll use a little red,

a little dark sienna,
a little white.

Don't over mix. About like so.

And let's just put the indication
of some light

shining right through here.

Just some happy little things
sparkling.

So, leave your paint
just partially mixed.

Don't want to overmix it.

Wherever you want it to go.

Put a little blue and white
on the other side,

make it look like reflected light.

A little touch of white right here,

where the light is really striking.

Look at that. Mm!

A little light colour
against the dark background,

it really makes those trees pop out
and you can see them.

You can really see them.

Again, we'll take a touch of
the liquid black

on the liner brush,

and just put the indication
of a tree limb here and there.

Just here and there.

See? Just...

Just wherever you think
there should be a limb.

See, that went behind the tree.

Liquid black works very nice

for putting in a lot of tree limbs
real quick.

There goes one right over
the mountain.

That one hurt.

After you work so long and hard
on your mountain

and start throwing tree limbs
all over it.

There we go.

There we go. Just some indications
here and there.

Wherever you think they should be,
then that's where they should be.

Now, then. Let's take...

We'll take
the old two-inch brush.

This is the same old dirty brush
I had. It's got some green on it.

Let's go right up in here,
and just put the indication of just

all kinds of beautiful little leaves
that are living on these trees.

Just by touching, just touch. See?

And you can put as many
or as few as you want.

Well, it's about time for me
to leave you today.

I really hope you've enjoyed
this painting

and it's given you a lot of ideas.

I think you'll like it.

So, I think we'll call
this one finished.

And with that, from all of us here,

I'd like to wish you
happy painting, God bless.

See you next time.