Original subtitles

(light music)

- Hi, welcome back.

Certainly glad you could join us today.

I thought today,

we'd do a different

little painting using some

of the liquid black

and liquid white.

So let's start out

and have 'em run all

the colors across the screen

that you need

to paint along with us.

While they'e doing that,

let me show you

what I got.

Got my standard old,

pre-stretched, double prime canvas.

Today, I've taken liquid black,

and put on the bottom.

And liquid white

put on the top,

it just blended in together.

So, the entire canvas is wet.

But it's dark on the bottom.

That's the only difference.

Liquid black is just like liquid white,

only it has a black pigment in it.

And I use that a lot of times

when I know there's gonna be areas

that there's a lot of dark in.

The liquid black will make it

a lot easier for you.

Let's start today with

a little bit of Alizarin crimson.

Just a small amount

on a little two-inch brush.

Just a little.

Let's go up in here.

I want to put a little pink

in the sky.

But I don't want much.

I just want enough

to warm it up some.

I don't want to set it on fire.

It's very easy to set it on fire.

Just want to warm it up.

Now, the crimson

is mixing with the liquid white.

It is a little liquid black there.

And automatically,

it will get lighter and lighter

in value.

That easy.

Okay.

That's about all I want

of the crimson.

There.

Now,

without cleaning the brush,

I'll go right into

some phthalo blue.

I like phthalo blue.

It's a beautiful, beautiful blue.

Okay,

let's go up in here.

Now, we start right at the top,

using our Xs,

little cris-cross strokes,

go all the way across the top.

All the way across.

And then begin blending downward.

And be careful.

This blue is so much stronger

than the crimson.

It will eat up all the crimson

very quickly.

Very quickly.

So let's just have it

about like that,

and then clean your brush.

And we'll take the clean brush,

and blend them both together.

Just shake it off.

Beat the devil out of it.

That really is the fun part

of this whole technique.

I have more pleasure

just beating the brush

than anybody in the country.

I have people now

that write me letters and say

they have no desire to paint.

They just bought a brush

so they can beat it

and take out their frustrations.

That's okay.

That's okay.

Alright.

Let's do...

Let's put some mountains

in there today, shoot.

Let's take some Prussian blue,

some black,

Alizarin crimson,

Van Dyke brown.

Just mix 'em together.

Mix 'em together.

Make a nice dark, dark color.

Put a little more crimson in it.

There.

Okay.

Now, the first thing we have to do

is decide where our mountain lives.

We'll cut off a little roll of paint.

There, you can see it.

Let's go.

Maybe there's a mountain,

lives right here.

Now, the only thing we're concerned about,

is the nice, outside edge.

We could care less

what's going on

anywhere except the top.

Right in there.

So, don't worry about it.

Don't let a mountain scare you.

They're really one of

the neatest things to paint

in this technique.

And still probably the most popular

thing we paint.

Alright,

I'm gonna take

two-inch brush,

grab it,

and pull.

Because there's liquid white

and liquid black underneath,

the color will move.

It'll allow you to blend the color

right on the canvas.

And it also removes excess paint.

So, the next layer will

be much easier to apply.

And we'll just let it fade

right into that,

like that.

See there?

That's all there is to it.

Let's take white,

white.

Grab some midnight black

a little bit and put in there.

I want to grey this a little bit.

So, we put a little bit of,

maybe even a touch of bright red.

It's our world,

we can do anything

that we want here.

Pull the paint out

as flat as you can get it.

Once again,

our little roll of paint.

Let's go up here.

Now then,

just decide where the light's coming from.

And if you're right-handed,

you'll find it's usually easier

to have it coming from the right side.

Left-handed,

try both ways.

Left-handed people,

have been forced

to do right-handed things

their entire life.

So some left-handed people

will find it easier to highlight on the right,

some on the left.

It's a very individual thing.

There we are.

Little dooders in there.

Now, I'm just gonna,

pull a little bit of that color

down to make the shadows.

I don't want distinct shadows in here.

Just gonna pull

a little bit of it down.

Maybe,

right over in here,

there's a little bump right there.

See there?

You decide.

You decide where all

these little things live.

There.

And you can just place

some darks and lights

back and forth,

to create all kinds of illusions.

There you go.

Okay.

Now,

as I say,

it's your world.

You decide where you want

all these little rascals to live.

Okay,

we'll take a clean,

be sure its good and dry.

Clean, dry two-inch brush.

If it's not dry,

it will dilute the paint,

and make it too soft.

So, be sure it's dry.

Follow the basic angles in these mountains,

and tap.

All we're doing is trying

to take out

the little tap marks

and blend everything together.

And then, lift upward.

See?

Smooths it right out.

And it creates that illusion of mist,

right down at the base.

Sometimes,

it's a little too straight for me.

I'm gonna,

put a little dooder right there.

See?

It's all you gotta a do.

You can change your mind.

And it just makes it

a little more interesting.

Ready to get brave?

Let's do it.

That little mountain went so well.

(laughs)

This really is your bravery test.

Let's have a big mountain,

that lives right up here.

Right up here.

Maybe there's a little bump right there.

Don't be afraid of these mountains, shoot.

Once you make friends with

this knife,

they're one of the neatest things you can make.

And you do need

to make friends with the knife.

It takes a little time.

Takes a little time.

It's like anything else

when you do it at first.

It's a little foreign to you.

It takes a little while

to make friends with it.

Alright.

Very quickly,

with a little practice,

you'll be doing things

with a knife,

you just can't believe.

Okay.

There.

Here in the studio,

we just had a couple of

my young friends come in.

And,

they were only about,

one was six

and one was younger than that.

And they brought me some paintings

that they're doing.

It's unreal,

what young people can do with this too.

They were fantastic.

Okay, now.

We're just gonna blend that,

just let it go right and all,

whew.

We said we was gonna make

a big mountain,

we weren't kidding.

Once again,

our little roll of paint.

Touch,

no pressure.

Absolutely no pressure.

Just let the paint glide

right along on there.

Let it glide.

You want it to break.

In other words,

have all these holes in it.

That's what makes it look interesting.

There maybe is a little light zinging

right on there.

Wherever,

it's up to you.

Painting gives you freedom.

Gives you creative freedom.

let's take some Prussian blue

and some white,

a little black in it,

just to dull it down some.

There.

We'll make us a little

shadow color.

Small roll of paint.

And once again,

just let it just glide

right along there,

like that.

Maybe out here,

just a little highlight

right in there.

We just sort of let them come together.

Just let your imagination take you

to any place that you want to go.

Look up there.

See there?

Just let it go.

Just let it slide

right down though there.

No pressure.

I know you get tired of hearing that,

but it's so important,

and it's probably

the single biggest mistake

that people make,

is apply too much pressure.

No pressure.

I'm gonna put some

little bumps and stuff in here.

And we can do that.

Put them anywhere that we want 'em.

There.

Just a little.

Maybe there's a little

dooder that lives over here.

Mountains grow every which way.

Just let 'em grow.

Let 'em go,

wherever they want to be.

There.

Just,

a few little things down in here.

Take a little more of our shadow color.

There.

But that creates the illusion

of all kinds of little dooders.

And when you're at home

and have unlimited time,

shoot,

you can do

much better than this.

Much, much better,

I know you can.

There we are.

Wherever.

Wherever.

Okay.

Something about like him.

Now, let's get our brushes.

Nice and dry.

And let's just blend this,

very gently.

Just blend it.

We're tapping, following those angles.

Notice the angles are coming down,

like that,

and we follow those angles.

We follow,

okay?

Little bit of shadows,

right here behind

this little rascal.

Don't want him left out.

Then we can bring all

of that together.

Lift upward.

Takes out the tap marks,

brings everything together,

like that.

I'll tell you,

the best mountain painter

in this technique,

is probably my son, Steve.

That rascal, whew.

He can paint some mountains.

Maybe we'll get him on here

before the series is over.

He travels and teaches

all over the country.

But, if we can get

that little rascal in here,

we'll have him come to the show.

Maybe I'll get him

to paint you a mountain,

because he can paint mountains.

Course, I sound like a proud Daddy

just keep yaking 'bout him.

And there's some truth to that.

There is some truth.

Okay.

That'll give us a pretty good,

little mountain.

I'm gonna have time

to do some other things than this.

Let's take

Prussian blue,

phthalo green, black, brown.

Oh, willing,

throw about any

old dark color in there.

I like to throw a little

of that phthalo green into it.

I'll make some evergreens.

It just gives them a nice,

nice color.

Alright.

Today, to make some evergreens.

Let's grab us a...

We'll use a fan brush.

We'll use the old fan brush.

You could use a one-inch brush,

whatever,

it doesn't matter.

Anything that works.

Load both sides with a lot of paint.

Let's go up in here.

And,

let's just tap in,

the basic indication

of some little evergreens,

that live far away back here.

They're far away.

They live right under the bottom

of this mountain.

It's one of the easiest ways

I've ever seen,

to create the illusion of

a lot of little trees, very simply.

Very, very simply.

But now,

one of the things that happens a lot,

sometimes there's too much distance

between 'em,

and they begin looking like fence posts.

If that should happen,

all you need to do

is put a few more in there.

Just fill up the area.

There.

Because they're too far away,

you're not gonna see

a lot of detail.

Things that are far away,

you see only basic shape,

form,

and basic color.

That's really about all.

Maybe we'll have 'em

coming over here too.

And to create that illusion

of distance in your painting,

avoid having too much detail,

when things are supposed

to be far, far away.

Yeah.

I know that sounds crazy,

don't put too much detail.

Sometimes we can absolutely

put too much.

Okay, here we are.

And we just sort of smash 'em down,

with the old fanbrush.

These fan brushes are marvelous.

They'll do wonderful, wonderful things,

where you paint an entire painting,

using nothing but the fan brush.

maybe we'll do that

in one of the shows sometime.

Just to show you we can.

The big thing is time.

I'm gonna tap the base of that.

Like so,

there we are.

Now, we're gonna lift up.

It just smooths everything out.

Blends it right into the painting.

There we are.

Now we have a whole ridge

of just little trees

that live there.

Okay,

we'll just use that same old brush.

It's got,

put some sap green in it.

And it has a little bit of that

pine tree color.

So when we touch yellow,

we're gonna get

beautiful, beautiful greens,

that'll end in yellow.

And then I'll touch a little

of the bright red.

Bright red actually dulls the color.

I know it sounds crazy,

but red and green make brown.

So, when you put 'em together,

it dulls the color.

Now then,

yeah.

And notice I didn't have to put

any dark color in there,

because we used the liquid black.

That's what it's great for.

I knew there was gonna be

a lot of dark in there.

Didn't know exactly where,

but it doesn't much matter.

But I knew there was gonna

be a lot in there.

So,

Let's just take,

and begin tapping in

the indication

of all kinds of little things

that are happening back here.

Wherever.

There they are.

Just little happy dooders.

I make up words.

I'm very bad about that.

I often wondered,

we have the shows playing

in numerous foreign countries now,

I often wonder how they translate,

"Dooders."

There we are.

Alright.

I like to go to Mexico.

The show's been playing in Mexico

for several years,

Mexico City especially.

And, it's unbelievable,

some of the paintings

that our Mexican instructors

are coming up with.

Unbelievable.

Because, they've adapted this to,

the scenery that they see in Mexico.

And now,

we have a lot of instructors in Japan,

and they're doing exactly

the same thing.

So, they're teaching me now.

That's nice,

when you can have

and get so lazy

and let somebody else do it,

and let them teach you.

Here we are

See how that land flows downward?

I want it to look like

a little meadow back here,

where the land just flows,

just flows right down,

very soft.

There we are.

You make the decision

how far down it goes.

I tell you what,

I tell you what.

I'm sorry,

I get crazy.

(laughs)

When you paint like this

for any length of time,

you begin seeing things

in your painting.

When you see these things,

take advantage of 'em.

Take advantage of 'em.

Use 'em.

They're like gifts,

use 'em.

I want to,

yeah.

I'll just do it.

I just wanna put,

maybe do some more

evergreens here.

Yeah,

I'll put a

whole line here.

There.

I need all these trees,

cuz my little squirrel needs

a place to hide.

Tell you what,

I got another little piece of film here

I want to show you

about my little squirrel, Peapod.

He is just the cutest little devil

you've ever seen.

Now, how could you not

fall in love with someone like him?

Isn't he precious?

Thus is my little squirrel, Peapod.

He lives with me.

Well, actually he lives outside,

and he just,

cuz I've turned him loose

quite a while back.

He's full grown now.

He was just sort of a baby there.

But her still comes back,

everyday,

everyday.

And I feed him,

I'm soft-touched.

But, ain't he something?

I always have a lot of scratches

on my hands and stuff

and playing with him,

because they have very sharp claws.

The one thing I like to say

over and over,

we do not ever keep,

making these wild creatures pets.

I only raise 'em

and I turn 'em loose.

Because wild creatures,

that's where they belong.

They should be wild.

If you want to keep a creature,

get a domestic animal.

Doggy or a cat.

They're a lot of fun.

They're a lot of company.

But, wild creatures are to be wild.

That's the way God intended it to be.

There we are.

But sometimes they need

a little help.

And if they do,

I jump right in there.

I like to play with them.

Like to watch them grow.

But these little squirrels,

when I get 'em,

a lot of times they're so small,

that their eyes aren't even open.

And then you have

to get up at night,

just like,

well, like I did with Steve

when he was a tiny, little baby.

And you have to feed him

two or three times every night.

Of course, Steve's not so tiny anymore.

He's over 6''5,

almost 6''6.

Must have fed him good.

Yeah.

That rascal,

certainly grew.

He out grew me.

We'll take a little bit of white.

I wanna create the illusion

of a little mist down here

at the base of these.

I'll show you why,

just to set it.

And I'll put some that's more distinct,

in this little misty area here,

this little misty area,

will turn out to be

your best friend,

because this will be your separator.

And you could just bang

it in any old way,

and then we'll just

tap it till it blends together.

Makes the base of the trees

look very soft and gentle.

There.

And most of this will disappear.

But here and there

and there and here,

we want to put a more distinct tree,

a bigger tree.

We'll put a little more paint on here.

Get all that phthalo green there.

Oh, I like it.

Brown and crimson.

I'll put some sap in there too,

I didn't have much phthalo.

And I want to have

a green tint to it.

Okay.

let's see what we got here.

Maybe,

you know, Bobby.

Gotta have a big tree in here somewhere.

Gotta have a big old tree.

Here it comes.

There we are.

We'll put some highlights

on there and separate it.

That'll separate it right apart.

Let's give him a friend.

There we go.

Right there.

I know it's hard to see right now,

but, we'll separate it.

We'll separate it.

Maybe here and there

we can put the indication

of a few more,

a little closer to us,

a little bigger,

a little more detail.

And then that

little misty area will separate 'em.

We'll just put a few in here.

You decide in your world

how many there are.

There we go.

Something like that.

I need one down here.

Just right there.

Okay.

Now,

without doing anything

to that brush except

going through yellow,

because it has blue and black in it,

you'll make a beautiful green color.

That'll give us the highlight.

Okay?

Let's go back up here.

Same old brush.

There we are.

Now, we can put in

a few little highlights.

Don't kill all your dark color.

I know it's tempting.

A little yellow ochre,

Indian yellow just mixed in there,

change of flavor.

But don't kill all the dark.

Evergreens are normally

pretty dark trees.

Leave 'em that way.

There.

A little over in here.

I'm just bopping around here

trying to get these put in

as quick as I can.

I'll put a few more little things

in this painting,

it's a lot of fun.

This liquid black, try it.

Try it.

I think you'll find it does wonderful things.

Now then,

maybe,

yeah, why not?

Let's start.

We'll put in some little grassy areas

and there.

Little yellow.

I'm gonna dip the brush

into at least a little touch of paint thinner.

Just enough to thin the paint

a tiny bit.

We're getting quite

a buildup of paint on here.

So we need

to paint this a little thinner.

See it there?

Look at all the layers in this painting.

I mean,

it just goes on and on and on.

And you can do it so simple.

There we are.

Okay,

and maybe a little touch

of the bright red here and there.

I like it.

I like it with red in there,

it does nice things.

Okay.

We need a little path in there.

Let me take a little Dark Sienna,

Van Dyke brown.

Gotta have a way to get in there.

We'll just put us a little path

right in there.

Mostly Dark Sienna.

Put a little of the Van Dyke,

and we'll let it wander right

on out through there.

Little brown, little white.

Just enough to put the indication

of a little highlight on there.

There, see?

It's that easy.

Just like you're putting snow

on the mountain.

Maybe,

I know.

(laughs)

Let's take a little black.

Maybe come right up in here.

Maybe there's just a little stone

that is right there.

Happy little stone.

We put in dark first.

And we come back with some brown,

white, a little black in it.

And let's put a little highlight on that,

just enough to make it interesting.

Just enough, see?

Pull a little but of it down,

not much, not much.

Alright.

Then, some little grassy areas

right around his foot.

Bring the path all into the painting.

There.

Alright.

Got just a minute left here.

Tell you what,

I'll need a tree in here.

I need a little tree.

My producer right now

is gonna kill me for doing this.

Right there is a little tree.

And we'll take,

a little light color,

just tap the side here

Give it some highlight.

Grab a liner brush,

put a couple little tree branches on it.

This old tree is dead.

This old tree had a bad day.

Old evergreen tree,

you just need some little

limbs hanging out through there.

Wherever.

Not many left,

just a few.

See?

But that's really all there is to it.

Hope you've enjoyed this little painting.

It's something different.

Shows you how to use the liquid black,

and I believe it'll bring you

fantastic results.

From all of us here,

I'd like to wish you happy painting,

and God bless, my friend.

(light music)