All language subtitles for The.Joy.of.Painting.S29E05.Countryside.Barn.720p.WEB-DL.AAC.2.0.H.264-FEYNMANIUM_track3_[eng]

(light jazz music)

- Hi, welcome back.

Certainly glad you could join us today.

I thought today we'd just do a painting that's a lot of fun.

So I hope you got your paints and brushes out and

you're all ready to paint along with us.

Let's start out and have them run all the colors

across the screen that you need to paint along with us.

While they're doing that, let me show you what

I've got today.

Got plain old double primed pre-stretched canvass up here,

and I'm using 18x24 inch, but you use whatever size

is convenient.

And I've just covered the entire canvass with a very

thin coat of liquid white, so it's all wet and ready to go.

So let's just have some fun.

Once again.

Let's just enjoy today.

Maybe today we'll start with a little two inch brush

and we'll go right into small amount of the pthalo blue.

Just a little.

Just a little.

Let's go up here.

Let's do this.

There we are.

Let's just take off and out some gorgeous colors in here.

Pthalo blue is such a beautiful warm blue.

I like it very much.

Very, very much.

There we go.

Just paint something about like that.

Little more of the paint.

Tell you what, maybe we'll just go on out a little

further with it.

Doesn't really matter.

Absolutely doesn't matter here.

Because if you've painted with me before,

you know we don't make mistakes.

We have happy accidents.

Anything that happens here,

we can live with and we can turn it into something

that looks pretty good most of the time.

And so can you.

Don't worry about it.

Painting should make you happy.

Alright.

I'm just gonna begin adding a little prussian blue.

Make it a little darker out here on the corners.

This is prussian blue and I did not clean the brush.

So there's a little pthalo blue still in the brush.

Doesn't matter.

Really, really doesn't matter.

Down in here, we'll just do the same thing.

Something like that.

Little more of the prussian blue.

Let's just fill up the whole canvass since we've about

done that already.

There.

And then we just begin blending it a little.

Maybe in the corners just to darken it a little.

Add a little bit of midnight black.

So we have black, prussian blue working toward pthalo blue.

Alright.

Little bit over in the other corner too.

We don't want it left out.

There.

Okay.

So much fun, I'm gonna do the bottom too.

Don't want it left out.

And little bit over in here.

Okay.

Havin' fun time.

Let's wash the old brush.

That's what I look forward to in every painting.

Okay.

We wash our brush with odorless paint thinner.

Be sure it's odorless.

If it's not, you're gonna run everybody in your family

out in the yard.

Be sure it's odorless.

Shake it off.

I kicked the bucket too.

Okay.

Now we'll go right into titanium white.

Let's go right up in here with the titanium white,

and I'm gonna start right here.

This'll be our light source.

This'll be our lightest area in the sky.

Begin just blending outward.

There.

Alright.

And you can do this as many times as you want to make

it as bright as you want.

Doesn't matter.

I would suggest though, if your brush picks up a lot

of that blue, that you wash your brush before you

go back into that light area.

And you can just look at the end of it and see if it's

got a lot of blue on it.

Alright.

We just blend out any little brush strokes.

Just blend them out.

Just like that.

Easy as it can be.

Down here doesn't really matter.

Alright.

Now then.

Old brush workin' pretty good.

Just gonna go right into some more of the blue color.

Mainly the prussian blue.

And I'm just tapping.

Just the corner, see.

Just the corner.

Let's go up in here.

Maybe back here in our world lives

some little trees and bushes.

Little things like this.

And I'm just gonna begin by putting in some very basic

little shapes.

Just tapping with the top corner.

Just the top corner.

Something like so.

There.

Little bit more.

And you decide where they live.

Alright.

And,

yeah, we'll have a big one over here.

Just sorta let this happen.

Don't worry about it.

Don't worry about it because the worst thing that

could happen at this point is you just blend it in,

make it part of the sky.

It's no big deal.

No big deal.

See, now as they get a little closer to us,

we'll make them just a little darker so they stand out.

That's the reason we're just using the corner

of the brush.

Automatically the bottom will be lighter than the top.

See?

Sneaky, huh?

And there we go.

You just decide where they are.

Drop them in.

Wherever.

And you could make as many layers as you want to.

Many, many, many, layers.

And I think that's what makes a painting look deep.

It gives it depth.

Is layers in it.

This is very simple to do.

Let's go back.

Same old brush.

I still haven't cleaned the brush.

Because it has blue on it, I'm gonna go into a little

bit of the cad yellow.

A little ochre here and there.

And pick up a beautiful green color.

It will turn green automatically.

We can go back up in here and just using the top corner

of the two inch brush,

we can put the indication of some little highlights on

some of these little trees and bushes that live

back in here.

And I think I'll do that to all of these.

Shoot, we'll just sort of bury back and forth.

Something.

There we go.

That one's got a little more of the yellow ochre in it.

There.

You know, I talk all the time about all the fantastic

letters we get from people all over the country

who are doing beautiful, beautiful paintings

and today I'd like to share a couple of those with you.

And we get letters from people in every walk of

life, from every part of the country.

And look at some of the paintings they're doing.

A lot of these people have never had a lesson in their life.

They're painting strictly from watching this show.

But isn't that fantastic?

I'm always amazed at what people are doing.

And some of these are very, very young people.

Very young people.

My young friends, whoo, dynamite.

Absolutely dynamite.

And people are taking it further than I ever dreamed.

They're doing scenes that are just, whoo, they're gorgeous.

I'm just so proud of so many of these painters.

Absolutely wonderful.

They certainly amaze me.

Every day we get more and more.

Isn't that something.

Look at there.

And you can do this.

You can do this.

This is a paper mache sculpture that was sent

to me by a beautiful lady named Rose McLachlan.

Isn't this something?

It's probably about 20 inches high.

As I said, it's a paper mache sculpture of guess who?

Oh, Bob, you can tell there by that wild hair style,

I think.

But Rose did a gorgeous job on this.

In fact, I've sent that to our warehouse and it's gonna

be on permanent display there.

Thank's Rose.

It was gorgeous.

There.

See?

I'm just putting in a few little highlights here and there.

While you were viewing all those beautiful, beautiful

paintings.

They are something, aren't they?

It does fantastic things.

It makes all this worthwhile when I see what people

are doing all over the country.

Take a little paint thinner, little bit of the dark color

and let's go up in here.

And here and there and there and here.

Let's just put in indication, I don't want too many, just

a few indications of some little tree trunks and some

stems, limbs, whatever you wanna call them.

They live back here.

There.

Just very lightly touch the canvass.

Don't need much.

Just a few little duders.

There we are.

See there?

Just like so.

And you just decide where you think these little

limbs live in your world and you put them in.

Wherever you want them is exactly, exactly where they

should be.

Because painting is a very individual thing.

It's very free.

It's very loose.

There.

'Kay, great.

And that easy.

We've got a nice little background.

I thought maybe today, yeah.

Let's paint a barn today.

We film this show in the great town of Muncie, Indiana

and around here, get a little sap green, there are a lot

of beautiful, beautiful barns and covered bridges,

so let's paint one.

Okay, take a little bit of that green.

That sap green, the yellows.

And let's just decide back here, yeah.

Maybe back in here.

Maybe there's a little hill right there, what the heck.

Alright.

We just begin working on that.

Think about shape and form of your land though.

Or as it's called, the lay of the land.

There.

Little bit more of the color.

Maybe I'll add a little bit more yellow.

I want that to stand out just a wee bit more.

If you have trouble making the paint stick,

you can add the, yeah, that's it, the least little touch

of paint thinner or liquid white.

Liquid white will change the color a little.

Make it brighter.

Paint thinner will just make it thinner.

It's probably why they call it thinner.

There we go.

Little background right in there.

Something like so.

Barn, we're gonna do a barn.

Maybe,

what the heck.

You ready to get crazy?

Let's do a big barn.

I find that taking the knife

and scraping out a basic shape when I'm doing a building

helps me.

Maybe you don't need to do that, but it helps me

a little bit just to have an idea of shape and where

I'm gonna put everything, perspective, whatever.

All the big fancy words you're gonna use there.

Maybe this is one of them old barns that's got some

arms that stick out on the sides.

Something like so.

All we're doing here is we're moving excess paint

and giving us a basic shape to go by.

Let's take some van dyke brown

on the knife,

and we'll start back here with the back eave.

Something about like that.

And, sheeew, there's more.

And at this point, we're not committed.

We can change this any way we want.

We're absolutely not committed.

This is just blocking in a little color.

Just a basic shape.

You cannot make a mistake here.

The only thing that happens is maybe your

barn gets a little bigger.

There.

But you can change it any way that you want.

Alright, we'll come down.

Does that begin to make sense?

I sorta see things in my mind.

And from there, off we go.

Because this painting technique allows you to

visualize things and put them on canvass in a very

short time.

Very short time.

I get letters from a lot of professional people who

say they have very limited amounts of time and they

love this technique because after a busy day

they can come home, unwind, relax, set their easel up

and in an hour or two they can have a nice little painting.

And that's wonderful.

Over here on this side we decided he was gonna have

a little thing coming out here about to there.

Doesn't matter.

See?

This is gonna be a big barn.

I got carried away.

But that's okay.

It's our world and we can do anything in our world that we

wanna do.

Anything that we wanna do.

Alright, this barn keeps growing here.

There.

Now.

Now we can begin putting in the goodies.

We've got some color blocked in.

Let's take some dark sienna, some white, and I'm gonna

pick up a little bit of yellow ochre.

Just a little yellow ochre like that.

Sort of a gold color.

But notice the paint is very marbled.

There's all kinds of colors happening in there.

Pick up a little roll of paint and we can go back up here

and very lightly touch and pull down.

Just touch it and pull it down.

And all those different colors that we saw on the

palette are in that roll of paint so we get a variation.

It's not just one old dead color.

There's a lot of things happening in there.

Lot of gorgeous things.

Lights and darks.

You couldn't do that intentionally if you tried,

but we know how to make happy accidents happen

on a regular basis here.

There.

Now over here we'll put some more.

We'll get a little more of the dark sienna.

I want this side over here to be darker.

Something about like that.

Take a little of the van dyke, just plain van dyke.

And maybe here and there we can put the indication

of a few old boards living there.

Just touch it allowing it to pull off what it wants.

There we go, see there?

That easy.

Good place for the old cow to live, right in here.

There.

I grew up with an old cow that lived with us.

She was a nice old cow.

Old milk cow.

I miss her.

We used to drink fresh milk right from the cow.

Unpasteurized and all that.

Guess that's not considered safe anymore.

But it was some of the most best tasting milk I've

ever had.

Alright.

Now for the roof.

Let's take, we'll just use those same colors

and brighten them.

Yellow ochre.

Dark sienna.

Some white.

Once again, don't over mix the color.

We want all those things happening so you can just

sort of pick and choose

wherever you want them.

Little roll of paint.

Go back up here and let's just take the knife touch

and just sort of let it bounce.

Bup, bup, bup, bup.

Gotta make those noises though.

There we are.

Look at all the colors that happened in there.

I mean, think how long you'd have to work to try to

come up with those colors, if you ever could.

Don't know that you ever could.

Just let it bounce.

There.

See, maybe brighten this edge just a wee bit.

Darker, darker, darker as it goes down.

And over here, coming out in this direction,

there's some more.

Look at there.

Old, old barn.

And a little right along the edge.

Alright.

Now then, we can take, let's see, what will we use here?

Here's a little white with a touch of pthalo blue,

just a touch.

Just enough to shade it a little bit.

Very small roll of paint.

With that, I just wanna sort of sparkle

that edge so it stands out and you can see it.

Just enough to sparkle a little.

Maybe just indication that it goes back there.

See?

There.

But not much, not much.

You could overdo very quickly.

Just tiny, wee little bit around the barn door.

Just enough to outline it.

Now we can do a barnectomy.

We can just cut it off wherever we want it.

Think about perspective and all those little things.

Okay.

And,

put me little boards there.

Just touch with the dark sienna.

Or the van dyke brown, either one.

Just enough to give some little indications right

along in there.

And it will help

make it look like it was made out of old boards there.

And that's basically

all we have to do to have a little barn.

Now we go back to our

brush with the sap green, the yellows, all the yellows.

Once in a while I'll touch the least little amount

of the bright red.

I use that to dull color.

Believe it or not

it will dull your greens.

Because green and yellow,

or green and red make brown

and brown will dull your color for you.

There.

Just tap in a few little grassy areas.

Something like so.

Alright.

Gonna put the least little touch of paint thinner on my

brush just to thin the paint down so it'll slide on here

a little easier.

If you have trouble making the paint stick, once again,

add the least little touch of paint thinner.

Now then.

Pay very close attention to the lay of the land.

I sorta want this to look like a hill going down today.

There we are.

Something about like that.

Alright.

Little more of the paint.

See?

Just let it go, let it go.

There.

Alright.

We just sorta tapping in some basic little grassy area.

That's all we're doin'.

Little grassy area.

If a little of that blue shows through, that's wonderful.

That's wonderful.

The brighter you want this to be, the darker you make that.

So if you wanted the grass to be brighter, you make that

a little darker, add a little more black to it.

It's up to you.

Totally and completely up to you.

Wasn't those photographs we showed of people's painting,

weren't they fantastic?

You have to be proud when you do a painting

like those.

Absolutely have to be.

And as I've mentioned over and over again,

when you give a painting to someone as a gift,

it is so much more special than something you just

run down to the store and you buy for them.

This is something that came directly from your heart.

There's love in a painting.

And it will be cherished, more than likely, forever

and ever.

Forever and ever.

We need a little path right here.

Little van dyke brown.

Let's bring it right on out.

Shoot, we gotta have a way for the old cow to

walk up in there.

There.

There he goes.

This is just van dyke brown with a little

dark sienna in it.

That's about all.

There.

Take a touch of alizarin crimson and put it in there too.

Down in this end.

Yeah, yeah, that's what I want.

That'll show when I put a highlight on there.

For highlight, we'll just use a little bit of the

brown white with a little touch of crimson in it.

Wanna red it up a little bit.

There we go.

Isn't that neat?

Alright.

Now then.

Back to our brush we were making

all the little grassy areas

and we can go back in here and cover up some

of these little edges.

Bring it all together.

There we are.

The more you tap this, the softer it becomes.

It just, we'll get where it look almost like velvet.

Almost like velvet.

It's gorgeous what you can do with a big old

brush like that.

There.

Okay.

And we can just clean up our edges a little.

Something like that.

And off we go.

Hey, we've got an old barn.

Tell you what.

You know me, don't you?

You know what's gonna happen.

People who paint with me for a long time,

they know what's happening here.

I'll use the fan brush and

get a little bit of van dyke brown, dark sienna.

Just mixed together on the brush and we're gonna have

a bravery test.

Yeah, you're right.

Big tree.

Shhoooo.

I'm telling ya, big tree.

Was not kidding when I said big tree.

Let's, yeah, let's give him another arm out here.

Let him get even bigger.

Trees will grow on you in a heartbeat.

I've started out with little tiny twigs and ended up with

all mighty redwoods just that easy.

But that's alright because in this world you can do

anything that you wanna do.

Take a little of that, let's work in some nice same

color that I used there.

Touch.

Barely give it a little pull.

I'm barely touching.

If you've put snow on the mountains before,

it's that light.

It's that light of a touch.

Just touch it, give it a little pull.

Maybe this is a dead old tree.

There.

Maybe the old farmer just hadn't got around to taking

this tree down off the farm,

but he will one day.

He will one day.

He's like me.

One day we're gonna do it.

One day.

I have a tendency to procrastinate.

There we are.

Old arm sticks out over there.

Wherever you think they should be.

Maybe there's some old limbs that are broke

off hanging on the bottom here.

Okay, how about right there?

See, just drop them in wherever you think they should be.

Wherever.

There they go.

If you have trouble making this paint flow,

add more paint thinner to it.

This is one of those old gnarly limbs.

Yeah, it had a hard life.

Really had a hard life.

I like trees and limbs with character.

Every tree is not gonna be a telephone pole.

Thank goodness.

Some of them are gonna have old wiggly arms and

legs that hang out every which way.

And those are the trees, to me, that are the

most interesting.

The absolute most interesting.

Yeah, a lot like that.

That'll give you an old tree there.

Alright.

Tell you what.

Maybe down here at the bottom,

take a little bit of brown,

maybe there's what remains, just a piece of an old

fence down here that's still left.

Put in a couple little fence doers.

Take a little bit of highlight color.

Same brown that we've been using.

Has to be brighter, won't show.

There.

Like that.

Liner brush.

We'll use a little bit of the van dyke brown.

Maybe there's still a little bit of old wire hanging

on there.

We just do something like that.

Take our big brush, tap a little grass around the foots.

We about have a finished painting.

There we go.

Think we'll call that one done.

That easy.

Hope you've enjoyed this little barn.

Give it a try.

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

and God bless my friend.

(light jazz music)