[Music] Hi, welcome back.

Certainly glad you can join me today.

You ready to do a fantastic painting?

I thought today we'd do something that's a little bit different, and I really, really believe you're going to enjoy this.

Let's go up here, let me talk just a second.

Now, we have our good old 18 by 24 inch canvas as normal.

But today I've covered the entire canvas with a very, very thin coat of the liquid clear.

And if you remember, in some of the past series I've used that to some beautiful, beautiful seascapes.

And I've got so many letters saying can I landscapes with it?

Well I want to show you something that's a little different and I think you're going to enjoy it.

So let's start out and have them run all the colors across the screen that you need to do this little painting with me.

And they'll come across as usual, starting with the white and they are in the same order that I have them on my palette.

And let's go on up here and get started.

As I say, there's just a very thin coat of this liquid clear.

Now, the biggest thing to remember when you're using the clear is to put the tiniest little amount on.

It goes so far, one jar will probably last you [chuckles] the rest of your life.

Very, very thin amount.

Now then, let's have some fun.

Let's do something that's-- well let's do a background today, that's a little different.

I'm going to start with the least little touch of dark sienna.

And very little paint, very little paint.

Let's go right up here.

Now just pick a spot you like, and let's do something like that.

See how easy that is?

Alright, now, reach over here, we'll grab a touch of alizarin crimson.

Same way, but there's very, very little paint on the brush.

Very little.

And we'll just do this.

Now, most of these colors in the background that I'm going to use today are transparent.

And by being transparent, they'll give you a different effect than if you had liquid white on the canvas.

You'll enjoy this one.

Okay, I want to go into a touch of Van Dyke brown.

Just the least little touch, least little touch.

And we'll just do another one.

And all I'm doing is just making little streaks of color here and there.

Get a tiniest little bit of the blue.

Tiniest little bit of blue.

We'll come right up in here.

Ooh, right there.

Right there.

And just sort of let these colors work together, but we don't want to blend them totally to death.

Just sort of here and there and, just sort of let your imagination go crazy.

This is one of those paintings you should really do when you're in a fantastic, happy mood.

And you just sort of, want to let things happen.

I'm just going back and forth between the crimsons and the browns and blue and, whatever, whatever.

Just sort of let your imagination be your guide here.

Back to the dark sienna, and maybe I'll put a little darker streak here and there.

See there?

And there's one.

Now I want to make the indication.

This would be almost, almost unrecognizable.

But back in here maybe, maybe there's just the slightest little indication of some distant trees.

I'm going back into the dark sienna and tapping.

Just tap a little color.

Maybe even pick up a little bit of the crimson.

A tiny little bit of color.

Okay, let's go back up here.

Now maybe back, way back in here there's some big trees that live back in there.

But they're so far back, you don't make out anything, but just very, very little shapes.

There, see?

We're not looking for any detail.

Avoid detail at this point.

There we go.

Add a little bit of the Van Dyke brown in there.

And you can make some of them, maybe a little darker.

This is almost abstract back here.

Okay, maybe there's a little one in here, wherever you just sort of make up your mind where you'd like one and drop it in.

Because this is, for today this is really your creation.

I don't even know what this one's going to end up being.

Here's one that's a little bit darker.

Okay.

Like so.

Alright, now then.

Tell you what, I'm going to just beat the paint out of that brush.

Very lightly, very lightly, I'm just going to lift all this up.

Just barely touching, I want to blend it right back into that background.

See there?

Now then, I'm going to lay the palette down today.

Pick up a, let me grab a fan brush, here.

There we go, here's a nice fan brush.

And I'm going to dip it into the paint thinner.

Now, the liquid clear and paint thinner have almost a violent reaction.

So, watch happens, I'm just going to use the edge of the knife and just flick a little on here.

Look at that, see?

Makes all those beautiful little patterns in there.

Now this is so much fun, [chuckles] you can get carried away and just eat it all up.

So just, a little at a time.

Just a little at a time, you can always add more.

And if you do too many and you don't like them, you can go back and add some color in there.

See how pretty that is?

And it's so simple.

And it makes an effect that's very unique.

And it looks like thousands, and thousands and thousands of little leaves, that are far, far away.

But we have no detail in them yet.

There we go.

Now, longer this sets, the more these little things will grow.

Let's have some more fun.

Let's do some big evergreens now.

We have this nice soft background.

I'll take some blue and some black, oh we'll grab a bunch of brown, some sap green, shoot we'll throw some crimson in there too, I'm just really looking for dark color.

We might as well mix up a big bunch.

Okay, let me clean my knife off, here.

Tell you what let's do, today let's make some nice big evergreens back here, and we'll use a two-inch brush.

Sometimes we avoid this big brush because it's so big.

But it'll do absolutely fantastic things.

Now, pull the brush through the paint and wiggle it as you pull it.

Both sides, wiggle.

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

And you can bring this brush to a super chiseled edge.

See how sharp it is, look at that.

That's what you're looking for.

Pull it through by wiggling it.

A lot of paint in the bristles.

If you don't have a lot of paint, then the bristles will not stick together and it'll flop open every time.

Okay, so let's just sharpen it, so it's very sharp.

Now then, maybe right in here.

There is now.

We'll have a big evergreen tree.

And just begin working back and forth.

Use just the corner of the brush and push downward.

Just push downward, now these are close to you, so we're going to have a lot of detail.

Look at that.

Did you ever believe you could make such a fantastic tree with a great big brush?

Look at that.

I'll tell you what let's do, I something else here that I think would just work very nice.

In a painting you want to put a lot of planes, these planes create the illusion of depth and distance.

Let's put a plane back here, before we put too much on.

And I'll show you how that'll, that'll help push everything back.

I'm going to use the round brush and the tiniest little bit, tiniest little bit of the dark sienna.

And just tap.

Okay, let's go ahead up here.

Maybe there's some little bushes that live right there.

Tiniest little bit of color though.

There we go, see?

And that easy, you can create all kinds of happy little bushes that live back here.

Just like so.

Now, by taking the brush and pulling it, see, this once again, is a color that's very transparent.

So very nice little things happen.

And when we're done, this will look like a little plane back here.

I'll show you in just a second.

And that'll help create the illusion of more distance in your painting.

Of course, none of us interested in that happy buck, but should you be, this is what sells your painting.

With a liner brush, with the paint that's been thinned a little thinner, you can add just the indication of a few little sticks and twigs back here.

Not too many, just a few.

Just a few.

Like so.

Okay, shoot I want to make some more of them evergreens, those are fun.

Back to our very dark color.

Very, very dark color.

Load that brush full of paint, to a nice sharp, chiseled edge.

See sometimes maybe you just want to make the indication of trees that are far away.

Watch here, you can just take that brush and tap downward.

Give it a little pull, and make the indication of trees that are far away, that you don't see a tremendous amount of detail in.

And wherever you think they should live, that's exactly where they ought to live.

Look at that, see you can make hundreds of trees that are far away, that simple.

See, while we've been talking here, this background has continued to grow.

The little dots, isn't that pretty though?

And you can make all kinds of beautiful effects with the clear and then just sprinkling a little thinner on it.

I'm not a very good portrait painter, but I'm sure you, you might be.

And it's a super background for doing portraits on.

Try that some time, you'll enjoy it.

Okay, let's go back here.

I don't want this one big old tree to get lonely, so I'm going to give him a friend.

And his friend, his friend lives right there.

See, the corner of the brush.

This will give you some practice with that big brush.

Boy, it's the, it's the best tree maker you ever seen.

Beautiful, beautiful trees.

Beautiful trees.

Okay, maybe there's another one, lives right there, wherever you want him.

Wherever.

There we go, just tree after tree, after tree.

And between each tree, reload the brush.

Start with a brush that has a nice, sharp edge on it, and you'll get much better results.

There you go.

Just, let that work right on down.

Wherever you want it to go.

Tell you what, tell you what, maybe there's another one right there.

See there?

There he is, there he is.

And we'll put one little one here, so you can make a little trees with a large brush too.

Look at that.

That easy.

Now then, we can take the knife, take a little bit of the dark sienna, least little touch of white into it, it's dark sienna and white, pull it out, cut off that little roll of paint.

Let's go up here, now then, let's just put the indication here and there of a little tree trunk in some of these trees.

And you're not going to see the entire trunk, so just here and there, don't don't get over-concerned about it.

There we are, let's drop it in.

And you can scrape through, just literally scrape right through the paint.

See, you can probably hear that.

Make all kind of little sticks and twigs in there.

This is your world, so you make the determination where things live.

And you drop them in wherever you want them.

Okay, good.

Told you this would be a fun little painting.

And very different.

Same old dirty brush going right into the cad yellow.

Now, because we had all the blue and the black in there, when that touches that yellow, it's going to turn a beautiful, beautiful dark green color.

Reload the brush back to the same shape, chiseled edge that's very, very sharp.

Look at that, you could almost shave with that.

Okay, now come back in here, and then we're going to just gently highlight these.

Just using the corner of the brush.

Now, if you have trouble making the paint stick add the least little touch of paint thinner.

Least little touch.

A little bit goes a long way.

Because a thin paint will stick to a thick paint.

There we go, there we go.

Now then, this big old tree here.

And in your painting, you put as many or as few highlights as you want.

Just sort of look at it, make a determination and drop it in.

Just drop it in.

But if you put too much, you're going to kill all that beautiful dark color and your painting will get flat, so be careful.

Be careful.

There we go.

Right on down, wherever.

Okay.

Tell you what, let me grab another brush.

I have, I have several old brushes going here.

Now watch right in here, I'm going to start-- going to just scrub in a little bit of color, right up to this dark.

Now we're going to begin creating the lay of the land.

So just scrub it in.

The liquid clear is on the canvas, and the big thing here is to use almost no paint.

Just virtually no paint.

I'm just literally scrubbing it in.

Maybe, maybe the lay of the land will go this way, over here.

We'll have this sitting up on a little hill, like.

And you decide in your painting, you decide how the lay of the land will go.

We're not trying to teach you to copy here, we're trying to teach you a technique and then turn you loose on the world.

Because you can do anything that you want to do.

Anything.

You know, I heard, one time, that you can have anything that you want, anything that you want, if you help enough other people get what they want.

That's all you have to do.

Think about that a little bit.

Now then, with the same brush I'm going to begin reaching up in here and I'm going to grab a little touch of this dark.

Don't add any more color to your brush, just grab this and begin working it outward.

If you need more, come up in there and get it.

Just tap downward, and let it begin working outward.

And this is the way we'll make all different planes in this painting.

Isn't that neat?

And now you can see how that pushed that area back.

Here we go.

Just sort of let it go.

And you have to determine how far it goes.

There.

Okay, and all I'm doing is just tapping downward, just tapping downward.

There, okay.

Over here, I want to change the angle.

I want this to look like it's setting up on a little hill, as we mention earlier, so that's the way you make the lay of the land go.

And the more you tap this, the softer it will become.

See, let's go right up here.

And we can create things happening in here.

Look at that.

Isn't that fantastic?

I really think you'll like this liquid clear.

It is a lot of fun, and you can do this with any color, any colors.

Especially the transparent colors.

And we just sort of begin rounding this off by just tapping.

Just by tapping.

And you could go in, and you can pick up a little bit of brown if you want to.

And create different little things.

All kinds of happy little effects.

Okay, a little bit of the browns and maybe even a touch of crimson here and there.

However, you sort of look at it, and you make the determination what you want in your painting.

I knew you could do it.

You can do anything.

There.

Okay, we just sort of let that fade off into nothing.

Let's have some fun.

Let's take the little knife and maybe, maybe there's a little fence here.

So a nice way to start here, let's take the small edge of the small knife and very firmly, very firmly I'm going to, see there?

Isn't that neat?

And I'm using a lot of pressure.

And you have to decide how far back your little, little fence will go.

But just by taking the knife and pulling down very firmly, you're really getting in there and digging into the canvas.

Tell you what, that was so much fun, let's do another one.

Maybe, right over here, very firm.

Can you hear how hard I'm pushing that?

Okay, now let's have some rails on this fence.

Same thing, I'm just going to take the small edge of the knife and very firmly, just go right up like that.

And perspective wise, let it, let it get bigger out here.

Okay, let's do the same thing out here.

Very firm, I'm literally bending the knife.

And you can let them get wider as they get closer to you.

That'll help push everything back.

Let's do that one, make this one wider.

Ooh, there's a nice one.

That's our rickety old fence.

Had to fence these trees in so they wouldn't get away.

Now then, I'll take my liner brush, and I'll go into some, oh this is titanium white with the least little bit of brown in it.

Let's go right up here and we can come right along and just sort of highlight these.

We come right along the top.

See?

Just enough to sort of bring it together.

Put a little highlight there across the top.

[Bob makes "Do, do, do" sounds] A little bit across that fence.

And off you go.

Isn't that sneaky?

[chuckles] I thought you'd like this.

Now then, back to my big brush, and I just want to tap the base of these little fences, just to work them in.

Make it look like, you pick up a little dark, see and go back in here, make it look like there's a little grassy growing right here, the bottom of this foots.

There.

A little bit over here and you can create some super, super effects.

Shoot, isn't that something?

That's, that's just unreal.

It's very easy and it's an extremely enjoyable painting.

I'm going to take fan brush and go into some, oh a little bit of Van Dyke brown, some dark sienna, and I'm going to reach down here, and dip my brush right into some liquid clear.

So now I'm making this paint quite thin, it's quite thin.

You can probably see it looks shiny there, it's nice and thin.

Okay, let's come right out in here, and now let's get crazy.

Let's just go in here, and just literally, just punch in.

I'm just pushing very hard, making the bristles bend upward.

See there?

We're just going to punch in a few little things here and there.

Just drop them in.

Okay, let them come right on out like that.

And then I'm going to begin grabbing them.

Because this paint's thin, you can do this.

Just with the corner of the brush, and begin just pulling up all kinds of little grassy things here and there.

And I'm going to also add a little touch of yellow ochre.

And being lifting it up here and there.

Just lift it up, give it a pull.

Lighter, lighter, lighter.

Wherever you want these things to go, it's really up to you.

It's really up to you.

See there?

And don't have them all go straight, you can pull them so they curve and they wiggle and they have fun.

This is going to look like old grassy things growing here.

Lighter, lighter, lighter as it works away.

Because there's more shadow in there, we want to keep that darker.

Okay, now we can go back, pick up our large brush, and once again, we're going to grab this and begin tapping.

Just tap and allow it to pick up a little bit of that color and work outward.

This'll smooth out the whole base of it.

See there?

Also, once again it helps create more planes in your painting.

There we go.

And this painting is so simple, if this is your first attempt with liquid clear, I think you will absolutely love it.

Tell you what, let's do something a little different.

I normally don't do this, but I'm going to today.

I'm going to take a little bit of the liquid clear on the filbert brush and I'll go right into the titanium white.

I want this paint to be quite thin, let me get a little more of the clear, it's quite thin.

Quite thin.

Let's go right up here.

Maybe back in here there lives a few little, little happy daisies.

See there?

All you gotta do is just pop them in.

These little daisies are simple.

That's about the easiest little flower to make.

Even I can make these and I'm not a big flower painter.

But see, just pop them in, like so.

And you put as many in your painting as you want.

Just pop them in.

Pop them in.

There's one right here.

There.

See we'll have little flowers all over here.

But you need to keep this paint very thin.

Now the other thing that this clear is so fantastic about, when this paint dries, everywhere you put liquid clear, it will be shiny.

It's almost like a glaze coat.

You'll have a nice glaze to it.

There's one maybe it lives right here.

And I tell you, I tell you, reach over here I'm going to get a little blue.

We'll have some, we'll have some pretty little blue daisies too.

Okay, it's very thin, very thin.

And there's one and he lives, yep, right there.

Right there.

And he's got a friend over here.

His friend's name is Henuretta.

Over here, we have another one.

Just as many or as few as you want.

As I say, you have to make these determinations.

And you put them wherever you think they should be.

Because that's exactly, exactly where that little rascal should live.

And just sort of look around and see where you want them.

There.

Isn't that pretty though, a little, just a little field of daisies out in front of all those trees.

Maybe there's one and he lives right out here.

Just drop them in.

Let them just sort of fall off the brush.

I think, yep, we'll have one right here.

Look at that.

Okay, let me wipe off the brush.

Get it a little clean.

This is a number six filbert brush that I'm using to do this.

You could probably make these with your liner brush without any problem just as well.

I'm going to go take the filbert brush, let me get a little of the liquid clear.

I'll go right into a touch of yellow ochre.

Just load a little bit in there.

I'm going to go back and just touch, give it a little pip, into the some of these little daisies here, give it a little center.

See there?

However, however many you want.

Okay, now let's take our liner brush I'm going to dip it in some paint thinner and go right into the brown.

And here and there we need to put the indication of a few little sticks and twigs and little grassy things grow up through here.

Wherever, and you, you know, you put in a few little stems to hold your flowers up, don't want them to fall over.

See, little stick here and there.

[chuckles] Isn't that fantastic?

Try this, I think you'll really enjoy it.

And from all of us here, until next time, Happy painting, God bless.