About : tv stands flat screens hide away
Title : tv stands flat screens hide away
tv stands flat screens hide away
- hello, i'm bob ross,and i'd like to welcome you to the 20 secondjoy of painting series. first of all, let me thankyou for inviting us back for another series of paintingshows. and if this is your firsttime with us, allow me to give you a personalinvitation, to drag up your paints and spend a relaxinghalf hour with us as we put some of nature'smaster pieces on canvas. so i'll tell you what,let's start out today,
have them run all thecolors across the screen that you need to paintalong with us at home. and while they're doingthat, come on up here and let me know you whati've got done already. i have a 18 x 24 inch canvas,but you use whatever size is convenient foryou. and this is a pre-stretched,double prime canvas. and i've covered theentire canvas with just a thin, even coat, of liquidwhite.
and the liquid white is onthere, only to make the canvaswet; it makes it slick. it allows us to actually blendthe painting on the canvas, so we're not working ourselvesto death here on the palette. so i'll tell you what,let's grab an old brush and let's just have some funtoday. we'll start today withan old two-inch brush. we'll go into a smallamount of the prussian blue. this is a very strong color,takes very very little paint.
just pull a little out andthen tap the bristles into it. i'm gonna reach right hereand get a little bit of the midnight in black and justsort of mix them together. so we have black andblue, or blue and black. whatever your preference. let's go right up here to thecanvas. now then, in doing landscapes, normally you want the wholething to be darker at the top, and thenlighter toward the horizon.
and by starting at the topand making little crisscross strokes, allowing the colorto blend with the liquid white that's on the canvas, thatwill happen automatically. it's very easy, just like so,we'll just make little x's, littlecrisscross strokes. allow that color to blend,there. and if you're working on a drycanvas, this would be very difficult. but since this canvas iswet, and you're continually
blending color, this isvery simple, very simple. this is truly the lazyman's way of painting. there we go. and i think i'll have somebig fluffy clouds in this one today, so i'm justgonna leave an area sort of open here, and that'swhere my clouds will live. alright, i'm gonna comedown, oh i don't know, maybe to about like there. just sort of let it happen,don't worry about it.
if you've painted withme before, you know that we don't make mistakes, wejust have happy accidents. because very quickly,you can learn to work with anything that happens here. i think i'll have a littlewater in this, so while i have that same color on thebrush, just prussian blue and midnightblack, just gonna put a littleindication of some water here. maybe i'll put a littlemore color on my brush,
make it a little darker, therewe go. alright. (paintbrush strokes) they're both in the outside inand leave an area open here. if everything works just right,that'll look like a little sheen of light coming across thewater. and it will certainlyenhance your painting. there, i put a little more ofthe color. we'll go on the otherside, do the same thing.
but pull from the outside in. see if you start here and you goacross, look all the horrible line youget here. and then you have to reallywork to blend that out. so start from the outsideand pull toward the center. or wherever you want yourlittle light sheen to be here. okay let me wash the old brush. that's the fun part ofthis whole technique. course they don't think soaround the station here.
because i've coveredeverything, as you will see. put the paint thinner, shake offthe excess. (paintbrush tapping) (chuckles) and just beat the devil out ofit. okay now with a clean brush, wecan just go across here andblend all this together. there, but see that lightspot still remains in there. it's not very distinctbut it's strong enough to indicate what we're trying toshow.
and we can blend the sky, andi don't want to overblend it. i like to have littleareas that show variations, so it's just not a flat, deadsky. but in your painting,you sort of look at it, and you decide how you want it. and you step back and take alook see every once in awhile soyou can see it from a distance. there we are. because if you back up and lookat
your painting, it's much easierto see. sometime when you'restanding, this close to it, it's sort of difficult to, tosee. let's use a one-inch brush, theni'm gonna make a happy littlecloud up here in the sky. for that, let's take justtitanium white. i'll be right back, don't goaway. a little big of the brightred, very small amount though. put a little sunshine on thiscloud.
okay let's go up here. now then, very gently, and allwe're doing is just sort of tapping thecanvas. just let the corner of the brushtouch and begin thinking where yourlittle cloud would live in your little world. and this piece of canvas is yourworld. and on here you can do anythingthat your heart desires. you can create any illusionthat you want here.
you can find peace andtranquility here, or you can make big storms thatjust, just depends on whatyour mood is that day. there, painting is sortof a way of capturing the second of time and a mood,putting it on canvas. and maybe a hundred years fromnow someone will look at yourpainting and they'll know thatyou had a fantastic day. and then on this day, you truly
did experience the joy ofpainting. just sort of let theselittle things just work around and have fun, let themplay. clouds are very free, they maybe one of the freest things innature. they just sort of float around in the sky and have a good time. okay, now we'll go backto our two-inch brush. (paintbrush tapping)
be sure it's good anddry and very carefully, just gonna take the corner ofthe brush, the top corner, and justgo in little tiny circles. little, tiny circles. i don't wanna touch the topedge up here at all yet. very gently. this istwo hairs and some air. just whisper light, whisperlight.(blows air) because you can destroythese little things that you've made in here veryeasy.
very light, barely touching,very gentle, caress it. there we are, now- i just beat the brush toknock off any excess paint. now very lightly we can fluffthis cloud, we can lift it. but this is a very gentle touch,just barely lifting upward. but you can see how that cloudis beginning to fluff up. there, and then very lightly,one hair and some air. just go across now takes outall the little tap marks, brings everythingtogether and make some of
the most fantasticclouds you've ever seen. and it's very simple. alright, shoot. we got a nice little cloudthere. now that, maybe today. tell youwhat. let's build a very simple littlemountain. everybody seems to likemountains, so let's, let's make us one. we'll take us from black,some prussian blue.
i'm gonna get a little vandyke brown too, what the heck. maybe even alizarin crimson,just good dark color. there, okay, now pull it outas flat as you can get it. take the knife, cut across,then get a little roll of paint, and it should live right outon the edge of the knife. you can see how it's rightout on the edge there. okay, let's go up here. now then you have tomake a major decision. come right up here.
now you have to decide in your world where your mountain lives. maybe, it lives right here. and you can make any kind ofmountain that you want, it's up to you. up to you, we'll just,we'll make something maybe today that maybe sort ofresembles the tetons or mountains in thatarea. and the tetons have a, they have
a lot of little points on them. little jagged, ragged things,and that's what we'll make. but you can make a mountainthat's very smooth. it's totally up to you. once again, painting isa very individual thing. that's the reason we use nopatterns and no tracings. cause then we're just paintingsomebody else's thing. i wanna teach you to makea world that belongs only
to you and it's unique toyou and your personality. there, okay. now we'll take a two-inchbrush, and we wanna grab this paint and pullit, and there's two things. maybe the most importantone, is it removes excess paint so the nextlayer will stick much easier. but it also creates this nice,misty area at the base of themountain. and mountains are always moredistinct
on the top, then they are on thebottom. if you can see the entiremountain. because there's mist and nowwe have wonderful pollution, that hang around down here atthe bottom. and it breaks up anddiffuses light, so that's why you have misty look atthe base of the mountains. and by using brushstrokeswhen you pull this, i hope that'll show up,but you can literally lay out all your highlights andshadows.
can you see what's happening?without being commited. it's sort of a sneaky littleway of seeing what your mountain's gonna looklike before you paint it. but you can lay out everything,that easy. now then, let's justtake a, we'll just use that same old titanium white,right here. pull it out, once again,as flat as you can get it. cut across, and a little roll ofpaint. see, let's do that one moretime.
cause that's so important,pulling out flat, cut across, little roll ofpaint. that easy, let's go up here. now then, you have to startmaking some big decisions. where does the highlightslive on this mountain. maybe somewhere rightalong in here, no pressure. no pressure. three hairs and nowhere, it'sthat easy.(chuckles) i've mentioned before inother shows when i was
teaching my son steve topaint, i used to tell him, "just pretend you're awhisper, floating right across the mountain and you'renot even touching it, you're just, you're justfloating right across there." there. see how you can createall kinds of little things. anything that you want,you just decide where these little things live in yourworld. and just barely touching it, andyou want the paint to break likethis,
that's what makes allthose beautiful little, little things you see in there. and it happens automatically. all you have to do islearn to make the knife barely, barely touch the canvas,gentle. we receive a lot of letters. one of the things that ihear over and over again is people are having troubledoing this. normally you can equateit to one or two problems.
first of all, the paint's toothin. we use a very firm, dry paint. much firmer than traditionaloil painting paints. secondly, the pressurethat you're applying, if you apply too much pressure, it's gonna look justlike your ice to cake. and we're not looking for that. we want to have all thosenice breaks in there so it's, very pretty, and peoplewon't believe what you did.
everyday i get lettersfrom people and they say, they've watched the showand they've tried it and it's' working, andthey take the paintings and they show it to friends andrelatives and they don't believethat they painted them. that's always wonderful to hear. for a little shadow here i'mtaking little prussian blue and white, and justmixing it here together. once again, you can evenuse a small edge, see
and pull out a little rollof paint, or you can use a small knife, whicheveris convenient for you. we have two different sizedknives, so pick out the one that youlike. and you go back in here now, andbegin putting in some little shadowareas. i want this to remain quitedark. i don't wanna get toomuch going on back here. these areas are deep in shadowshere.
but this is where you beginforming all these little things. this is where the littlemountain goat lives, right up in here. he needs alittle place to call home too just like therest of us. and you have to take care ofgod's little creatures, there. he could be over in here, likethat. wherever, wherever, just sortof let your imagination go. and you can come rightalong in here and any place you wanna show alittle, a little break here.
you just put a little shadow and automatically it'll happen. let's take another goodclean, dry, two-inch brush. and i wanna create mist atthe base of this mountain. so all you need to dois tap, but follow these angles when you tap,don't just chop across. it'll look like, looklike somebody took a big razor blade and cut yourmountain off. just tap and then gently liftupward.
the same angle that themountain flows here, same angle. it'll create a beautiful,soft, misty effect, right at the base of yourmountain. okay, shoot, we got a prettygood looking little mountain theretoo. alright, let's, let's takethe old round brush today. i'm gonna use that samebasic mountain color. we had prussian blue andblack, little alizarin crimson, there, i think we had some vandyke brown.
i'm gonna reach up here get alittle sap green put in there too. let's start making some foliageleaves. back here in front of thismountain, with the old round brush here,we can just take, and just begintapping, just aside basically, whereyou want these things to live. there maybe there's abigger one right there. big strong one that livesright up here, wherever.
you have to make big decisions. there they go, okay, littlebit more of the color. alright, maybe, maybe there'sa big tree here on the side. but just sort of let yourimagination go. think where, think of if youwere a tree where you'd like to live. this tree, he lives righthere in front of the mountain. he has one of the prettiestviews. he looks out over thismountain, and watches,
watches everything happen. sometimes, sometimes you getcarried away and these trees keep growing onyou. that's alright. this is yourtree. so you make it anyway that youwant. anyway that you want them. in your world you can haveanything. anything, there. okay, right on down, maybe,somewhere
in there we don't care at thispoint. let's see mix up a little morecolor. black, blues, some brown, littlecrimson. little of sap green, ran out ofcolor. there, now then maybe in ourworld, we'll have, shoot, let's getcrazy. (gently laughs) maybe there's another tree overhere. that'll sort of block everythingin.
make sort of a nice composition, that way it'll forceyour eye to go in here and look at this mountain whenwe're done. there, got a little hair there. you get a little hair, just usethe corner of your brush and lift itoff the canvas, no big deal. these brushes are naturalbristles so they do shed. there, till you, till you getthose out. okay now, maybe, maybe we'llhave some
reflections in our water,so all you have to do is just bring some ofthis color right down. just let it go. something like that. if we have a tall treeon this side, then we're gonna have very longreflections in the water. okay now, we have to make a bigdecision. where does water and land meet? somewhere right in here in myworld.
there, so just, justbegin pulling this down. we don't know exactly what'sgonna happen, but somewhere in here we'llhave all this come together. doesn't really matter at thispoint. now very lightly, go across. and that'll create the illusionof instant reflections in your water, thateasy. now have several of each brushgoing. let me pick up anotherlittle round brush here.
and with it, let's putsome nice highlights. i would take a little cadyellow, little yellow ochre, be right back, i'm gonnapick up little sap green, but mix these colors onthe brush, that way you have a multitude of thingshappening in that brush. look at all the differenttones and colors. i don't know if you can ever mixthat. if you just sat and tried tomix each one individually. okay, let's go up in here.
and i just wanna put littleindications of some little things, some littlehighlights on these trees. just tap, that's all yougotta do. just tap it. but think about forming shape,don't just hit it random. think about where the lightwould play through here, and all these little thingswould shine and sparkle. there, here's another one. these are just somelittle background trees. okay, very loose, right there.
and it helps to make up littlestories about your scene. give it, give thesecharacters personalities and then they become individualsto you. become very special, become yourfriends. i wanna add a little big of thatindian young, a little bright red hereand there. i wanna give this alittle, a little indication that maybe jack frosthas been through here and had a good day and thingsare
beginning to change colors. there, and you can get as wildwith autumn scenes as you want, thissome of the most beautifulreds and golds in nature. hmm. there we are. do you want a littlemore of the sap green, little cad yellow, maybe, whewlet's put a big tree here. think about individual things inthere. and once again, this isjust gonna end up being
a background tree. i think i'm gonna put somethings in front of it. but you wanna make it lookpretty good, because a lot of it is gonnashow through. and people would thinkyou've worked for months trying to get in there and putall those little, little individual thingsin there. and we don't tell themany different, that's, that's our secret. that's oursecret.
cause a lot of people wouldnever believe you could paint this much detail using a bigold crazy brush like this. but you can, there. you can do anything. as long as you believe you cando it. you know it helps to mentally, when you decide you'regonna paint a picture, paint it mentally, severaltimes, and get those strokes sort of worked out inyour mind.
know what you want, before youstart. have a general idea of what youwant. but do it mentally, just likeathletes, they psyche themselvesup before big event. you can do that for paintingtoo. okay, tell you what, maybe overhere we'll put a nice littlesparkler. okay, before we go too far here, i better decide what we're gonnado.
i'm gonna put some nice littletree trunks back in here. so we'll take some paintthinner, paint thinner. i'll just use some vandyke brown for that, maybe a little darksand and mixed with it. give it a little, a littleflavor. but this paint should bevery thin, almost like ink. this is a script linerbrush, it holds a lot of paint, but it needs to bevery thin. let's go up here, maybe, maybe,maybe.
yup, right here livesa big old, strong tree. a little more of the paintthinner, load the brush full again. but let the brush wiggle andjiggle, so it's just not a plain old,straight, telephone pole looking tree. i sort of like thetrees to have character. there, be individuals. i don't want all my trees togrow
up to be just telephone poles. there we go, but maybe in yourworld, that's what you want. and there's freedom on thiscanvas, you can do anything here. you can even string wire on yourtree if you want to, it's okay.there. and over there, this is thetree that lives right along, and he too has a beautifulview of the mountain. (paintbrush swishing in water)
and we can come back, i'll takea little paint thinner, and little,little white. but at least it'll toucha bright red in it. you can come right back in here, and add some highlights to yourtree. your mountain tells you thelight's coming from the right side. that easy. you can make it a littletree to stand out there. okay, back to my brown.
don't want the other sideleft out, it'll get jealous. and nothing worse than amad tree, i'll tell ya. and maybe there's a littlethat lives right here, in front of that great, big one. but by doing it thisway, painting that tree first and then paintingtrees in front of it, it creates the illusion of depth and distance in your painting. it's not, it's not flat. it'snot flat.
so many paintings isee are just very flat. this way you build depth. you'll be able to see betweenthings and look back in there andjust awe, it's fantastic. i've painted literally, tensof thousands of paintings, and i still get excitedevery time i see this work. every time there. okay just all kinds of littlelimbs and sticks and twigs and wherever you think theyshould live.
but if that paint doesn'tflow for you, chances are you don't have enough paintthinner. just add a little morepaint thinner, you'll, it will begin sticking on. go back to my round brush onto a little yellow ochre,little bit of bright red, and just mix them together. we'll put some, maybe alittle more of the red. let's sparkle this up.
we're gonna have fallcolors, let's go crazy. maybe on this one here, we cansee- oh, that's a nice one, look atthere, but right over the top of thatother tree. it's alright, we don't care. there, see. just pretend it'snot there. don't pay any attention to it. cause you want it to looknatural. in nature, one tree does notworry
about being in front of anothertree. it just grows wherever it canget to most light and water. and that's where we wantour paintings to look. there, and maybe there's a few, bright little things on thisside. look at there, this whole roundbrush is just fantastic things. even if you've never paintedbefore, this son of a gun will justdrop them right in there.
okay, maybe it's a little landout here. we need something forthis to stand though. i'll take a little van dykebrown. let's go right in here. and let's decide where the landlives. and this is just the base color. we'll come back and highlightit. i'll tell you what,maybe there's a little, a little peninsula thatlives right out here.
wherever you want it,just sort of drop it in. on the other side here, just alittle. there it goes. there. now, we can take a littletitanium white, little dark sienna, kindof just mix them together but looslely so thecolor's not over mixed, and just barely, caress the topof that. just let it, just let itpick up here and there. don't push hard though with theknife.
this is just like layingsnow on the mountain. cause if you push hard, it'sgonna destory the under color, and we don'twant that. and let's take us a fan brush. i'm gonna dip it in a littleliquid white. just a thin pain becauseone of our golden rule's, thin pain will stick to a thickpaint. take the same colors andmix them on the brush here. alright, let's go up in here.
just gonna push upward,with the fan brush. just pop in a few little grassyareas that live right back in here. follow the lay of the landhere, that's very important. this is where you createthat flow of the land. that's where it's created, righthere. just by making these littleareas, you can see exactly how this flows,there we go. don't kill all your little darkareas.
these dark areas at thebase of trees and stuff are extremely important. they're the shadows deep inthere. that's where the littlebunny rabbit hides. (lightly chuckles) and he has to have a place tohide. take a little liquid white,pull it out very flat, cut across, let's geta little paint on here. let's just put us in a littlewater line.
this light area separates thetwo darks, and cleans up the bottomand brings it altogether. just brings it together- act like you're trying to cuthole, right in the canvas. and this whole canvas isvery tough, very tough. okay, now then. here we are. yeah, let's get crazy. let's get crazy. we gota minute or so left. and you know, if you paintedwith me, i like big trees.
we have one, see right infront of everything though. lives right there. just van dykebrown. and we take out samebrown and white we used. let's just touch, barely touch. give it a little, a little pullhere. just a little pull, see. maybe this whole, tree.maybe it's about dead. just put a few limbs onit, and let it sort of just hang around out here.
a little paint thinnerand the liner brush. and we'll just put a bigold limb here and there. just like so. few of them still hangingon, still hanging on. not too many, don't want ruinthe illusion that this old tree is justhanging around here and dead. okay, i think we have prettynice little painting there. hope you've enjoyed this one. and from all of us here,
i'd like to wish you happypainting, and god bless my friend. (music playing)