[Music] Hi, I'm glad you could join me today.

You ready to do another fantastic little painting?

Hope you have your easel out and your paints all spread out, and a big glass of iced tea and you're ready.

Tell you what, let's start and have them run all the colors across the screen the you need to paint along with me.

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

I've got my canvas up, have it all covered with liquid white and it's all ready to go.

So let's go.

Thought we'd do a happy little painting today, I'm going to start all this to take a little touch of yellow ochre.

Just the least little touch on a two inch brush, just tap the brush into a small amount of color, ok?

Maybe, maybe we'll have a nice bright little spot up here in the sky.

Just using little criss-cross strokes.

Just lay in a little color here, very, very little paint on the brush.

Very little paint.

Maybe, take just a small amount of cad yellow.

Cadmium yellow, and just sort of lay a little of that in here, whatever.

Whatever, just make a happy little painting today.

Such a fantastic nice good day.

Let's make a painting that, that reflects that.

Okay.

Now then, let's wash the brush.

And we wash our brushes with odorless thinner, shake out the excess [laugh] and beat the devil out of it.

Okay, I'm going to take alizarin crimson, just go into a touch of alizarin crimson, reach right over here, be right back, right back.

A little bit of phthalo blue with it, and you can just mix these on the brush.

I'm looking for a lavender color.

And by mixing these colors on the brush you'll get all different variations of lavender, it just won't be one dead color.

Let's go up here.

Now maybe right in here, still using little criss-cross strokes.

I'm going to add a touch more blue to that, I'll add a little bit blue, that's better, I like that better.

There, just using little criss-cross strokes.

Just begin laying in some more sky, just like so.

And this color's so much stronger than the yellow, it'll go right over the top of it.

But be careful, be careful it'll eat up all your bright spot here.

It'll just absolutely eat it up.

There.

Okay, and wherever you want this to go.

Tell you what, maybe a little bit more right over on this side too.

Don't want to leave him out.

Okay.

Okay, now I have this whole brush dirty, tell you what, tell you what.

Going to take a little bit of crimson, put it right here.

A little, little warm spot, mm.

Now then, same old brush.

I'm going to go right back into some phthalo blue.

Just tap the bristles into some color.

And let's go right back up here.

Have some water in this painting today I think.

I like water.

Water is always so pleasant in a painting.

I don't know exactly where it's going to be so we'll just put it everywhere.

Anything that you don't want we'll cover up with bushes or trees or land, or whatever happens.

Shoot, who knows, who knows.

That's what makes it so much fun, we don't use any patterns or we don't any sketching, we just sort of let this happen.

Just let it happen.

Okay, I have several brushes going here.

Get another nice, clean two inch brush.

Then go right up here and blend the sky.

I want to blend these colors together.

Still using little criss-cross strokes.

Start in a light area, and work towards the dark area.

If you start a dark area and work toward the light area, it's going to consume this entire light area.

We don't want to lose that, that's, that's going to be our bright spot in the sky.

Don't want to lose it.

So start in the light area and work outward.

And you can blend this until it's so smooth and so soft, there.

Okay, now very lightly, using long strokes, we just go all the way across it.

And sort of step back and take a look see at it when you're at home to see if it's blended as soft as you want it.

Okay, down here we'll just go all the way across and smooth this out a little bit.

And that's all we need.

Tell you what.

Let's build, let's build us a little mountain today.

For that I'll take a little midnight black, a little midnight black, a little Prussian blue, throw some Van Dyke brown in there, a little crimson, whatever.

Whatever, good dark colors.

Okay, pull the paint out as flat as you can get it, take the knife, there.

Take a knife and just cut across, so you have a little roll of paint right out on the edge of the knife.

Okay.

Now then, let's come right up in here, and decide where you want your mountain to live.

Maybe, maybe your mountain - does now - lives right here.

And all we're doing is just putting in a basic shape, and you're only worried about the nice outside edge.

You could care less what's happening on the inside.

All we're doing is just, just getting our outside shape laid in, that's all we're doing, all we're doing, don't worry about it.

Enjoy.

And you can have this old mountain go wherever you want it.

Maybe right on out there.

Okay.

Now then.

Take another brush, just an old two inch brush, and I want to pull this paint, because the liquid white's on the canvas, the paint will move.

It will literally move.

There.

And you can really make some fantastic mountains, so simple.

There we go, and we want the bottom of the mountain, the base of the mountain, to just be blended out very soft so it looks like it's just sort of floating around having fun all day.

And that easy, we got a little mountain.

Okay, let's put some highlights on that mountain.

For that, I'm going to take titanium white and the least little touch of bright red.

Need very little, very little of the red.

Very little, so strong.

Pull the paint out just like before, as flat as you can get it, and cut across.

I have that little bit of paint right on the edge, ok?

Now then, you have to start making some big decisions here.

Maybe, maybe right here there's a little highlight, like so.

Just sort of look at your mountain and decide where you want these things to live.

Wherever you want them, that's where they should be.

Maybe that comes, yep, right down like that.

Just let it, just let it flow right down.

No pressure, absolutely no pressure.

This is the most delicate touch imaginable.

Most delicate touch.

There, see?

Just wherever you want it.

Tell you what you can do.

Show you something that's fun.

Let's take a little dark sienna and I'll put some bright red with it.

A little bit of white, mix up a color, oh, like so.

Now, take a little bit of that, and I'm just going to sort of just lay it here and there.

I want to make it look like maybe there's not as much snow down at the base down here.

Maybe it's a little warmer.

Maybe, maybe it's fall, or fixing to be fall and the snow's creeping down the mountain.

In Alaska, in Alaska they say the hawk is coming.

The hawk is coming.

Everyday we used to watch the mountains and the snow would creep down, down, down.

When it got down toward the bottom you'd better have your big coat out because it was on the verge of getting cold.

There, maybe watch here.

See, you can just bring those two right together.

You have unlimited power here, you can do anything, anything.

I'm going to get the small knife, and let's do some shadows over here.

I like to use the small knife.

Let's take a little bit of, a little bit of Prussian blue and put some white with it, and I'm going to make several different values here, each one getting lighter, lighter, darker, see?

Dark, light, lightest.

So now we can take the different values of blue here and begin dropping in all kinds of just little shadow areas.

And every once in awhile a little bit of dark sienna.

A little dark sienna here and there.

Put it in, just let it go.

See.

[Bob makes "sshoom" sound] Got to make those little noises or it doesn't work.

And you can make some of the most beautiful little shadows.

Okay, you can take your same mountain color here and there, drop back in some dark areas to create some nice deep shadows wherever you think they should be.

All kinds of little things.

Maybe a little light strikes right there.

No pressure though, absolutely no pressure.

Just let it go.

Okay, now then.

Back to our highlight color.

And let's take this and maybe there's all kind of projections in here, we don't want to just straight.

All kinds of big ragged things happening here.

This is a rough old mountain, it's had a wild life.

Big strong mountain.

Just sort of make up little stories when you're painting.

Let these little things just happen in your mind.

That's what makes it fun.

Now then we can come back in here with some of the darker colors and some of the shadow colors and begin putting in all kinds of little individual things.

See these peaks, all these little peaks, they need shadows behind them so they stand out as individuals.

There.

Give them some little shadows.

But you can create some of the most fantastic mountains that you've ever seen, and they're quite, quite easy when you're using the big old knife.

You wouldn't believe what you can paint with it, but you have to make friends with it.

Spend some time with it.

There.

And maybe here and there we'll just put the indication of a little highlight, a little shadow I made up in here.

Okay.

Now then.

Clean, dry two inch brush, and I want to just tap the base of this.

Just tap it.

I want to create the illusion of mist.

Tap and lift upward.

Always follow the angles that you have in the mountains.

There we go, over here follow these angles.

See, you can bring it all together.

Makes a super little mountain.

Okay, it's time to move forward in this painting.

I'll take, we'll use that same old mountain color blue and black.

Van Dyke brown.

Oh, some crimson.

A little sap green, whatever.

Looking for a good dark color here.

I'm going to take a little bit of it out, and to that I'm going to add some white.

There, so it's a very, it's still a dark color but not as dark as that.

Okay we'll clean the knife here.

I'll just use this old two inch brush here, you could use the one inch brush,the two inch brush, whatever.

We'll just start with it, tap a little color into it.

And maybe lives right here, some little trees.

They're way back in the background here.

There they go, see them?

Okay and it goes right on up, wherever you want it.

You just sort of make a decision in your mind where you think these things should live and drop them in.

It's that easy, you can do it.

You can do anything.

Now then while I have that color on the brush, throw a little bit right in there, like so.

Now, grab the bottom of this and pull it down, and we'll have some instant reflections.

Instant reflections.

And then go across, ok. Let's use the one inch brush today.

I'm going right in to some of the yellows, I'm going to reach up here and grab some black.

Black and yellow makes a beautiful green.

Some yellow ochre, Indian yellow.

Just tap.

Tap the brush firmly into the paint.

Okay, let's go back up here now.

Now I want to just begin putting in the indication of some nice little highlights on these little trees that are back here.

Just drop them in.

There, all you're doing is just tapping.

But pay attention to shape and to form.

Don't just throw them in at random.

Sort of look at your bush and shape your tree, and make friends with him.

There we go, see?

Just layer after layer, little bush after bush.

And as many or as few as you want.

Maybe there's another one lives right here.

Now, watch right here.

All you've got to do, let's create a little land here.

All you've got to do is just begin tapping, but follow the lay of the land.

If you want the land to look like it flows this way, then make your brush go that way.

See there, and it looks like very soft smooth little grassy areas way back there in the distance.

That's the way.

You can do it, you can do it.

Okay, now then we can take our brush, grab just a touch of that, pull it straight down, and we can reflect some of that color right into the water.

Right into the water.

I'm going to take a little touch of the liquid white.

Put it on the palette, pull it out as flat as I can get it.

Just really pull it out very flat and cut across, that's all there is to it.

Just cut across and go right up here, act like you're trying to, [laughs] like you're trying to saw a hole right in the canvas.

Just absolutely cut a hole in the canvas.

There we go.

Okay, that gives us a, just a happy little water line.

You can put a ripple or two here, depends on your mood.

If you want a ripple there, then there ought to be one there.

Okay, grab this old big brush again.

I'm going back into that dark color I had.

Now we have to begin making some big decisions about our, about our painting.

Maybe, maybe, I tell you what.

Maybe right here, there lives there lives a big strong tree right here.

Maybe there's several trees, I don't know.

All you have to do is just tap him in.

There's not a great deal of paint on the brush, and I'm tapping quite firmly and sort of with a, I think you can see that, sort of with the corner of the brush and bend it down like that, ok?

Maybe there's a big limb that hangs out over here.

And I added a little bit of dark sienna, just a tiny bit to begin warming up and lightening that color as it gets towards the top.

You can add a little touch of yellow ochre, there's another tree.

I knew there was one hiding in there, I just had to pull him out.

See, just bring him out.

Now then, now then, add a little of the yellow ochre.

A little more right on the same brush.

And I just want to put the indication here, of some little light areas, some light patterns.

We're painting the back of the tree now.

We'll come back and do the middle of the tree, which is the trunk, and the front of the tree, which is all the bright highlights.

Just sort of do it a step at a time, a step at a time.

Think like a tree.

There you go.

Tell you what, let me grab another one inch brush.

Let's have some fun.

We'll take that same old dark color, same old dark color.

Got to load this brush up with a lot of paint.

Okay, let's go right up here.

Maybe there's a nice tree that lives, sure does now, right there.

Now we just push this one right out of the brush.

Push, bend the bristles.

Don't let them slide.

Don't let them slide.

If they slide you'll have look like saw grass.

Saw grass is, grows in the water, just big long stringy things, we don't want that.

We don't want that.

we want some nice looking things going on there.

Back into my dark color, browns and the black and the blue and the sap green.

Tell you what, let's have another little tree.

And he lives right about here.

He lives right in front of that one.

Put him in there, and however tall you think he should be.

There.

And another one here, wherever, wherever.

Maybe there's a little peninsula that comes out there.

Just sort of make up little ideas in your mind and drop them in.

Now if that's a peninsula, we need to have a little reflection under it.

So pulling down, going across, that'll create our reflection.

Shoot, I tell you what, maybe this looks like a natural place here.

We'll just bring this right on across.

Still using the same colors, all we're doing is putting in dark color for the base.

We need dark in order to show light.

And we're just blocking in right now, just blocking it all in.

There.

Wherever you want it.

You know it's hard for me to believe there's, when we finish this series, there's going to be somewhere between 150 or 160 Joy of Painting shows.

[chuckles] That's unreal to me.

It's fantastic, and there's a lot of super people that put a lot of work into making this happen.

It's not done just by coming up here and painting a little picture.

There's a lot of people here in the studio that work very hard to bring you a nice production.

They really do a good job.

And there's a lot of people that you never see that support me.

I have fantastic partners by the name of Annette and Walt Kowalski, and they've been with me for a long time.

And they along with my wife Jane, shoot they make this thing work for us.

Super people, and I thank everybody that helps.

But most of all, most of all I thank you for allowing us to come into your homes each week and we enjoy that.

Hope you do too.

There, see.

Just all kinds of little things here.

Wherever you want them.

Now then, let's take, I'll get an old fan brush.

There we go, go right into some Van Dyke brown.

Load the brush full of paint.

Load it full of paint, and let's go up here, and let's begin putting in some tree trunks back in here.

And there's some trees back here in the background, we don't know how many, exactly where they're at, you might not see the entire trunk.

Just here and there.

Here and there.

And we'll have some trunks up here in this one.

Maybe over here there's some little tiny things happening.

Wherever you want them.

Wherever you want them.

We can take our liner brush, put a little brown on it with paint thinner to make it thin, and just here and there, just here and there put the indication of a little tree limb or two.

Just wherever you think.

Most of these will be covered up, but a few of them will show through and it makes it look like you really worked hard to get all these in there.

There.

Now then, tell you what.

You know me, I like old big trees.

Maybe, maybe there's a big tree out here in the front.

[Bob makes "pshoom" sound] Comes down in there.

Let's take a little brown and a little white.

Put it on the knife here, and we'll just put a little touch of highlight on that tree.

Make him shine.

There we go.

Shoot, while I've got that color I'll add a little touch over here too.

Don't want this one left out.

There.

Now we can begin putting in all the little pretty things here.

Take my little one inch brush and just begin deciding where the highlights are.

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

Takes a very, very small amount, very small amount.

Okay, back in here.

You've got to have some on this little rascal.

Don't want him left out.

Like so.

This was a little bush, right there.

Just shining up here.

Let him shine.

You know one thing I would like to say.

Here, I think it was in the seventh series, we had one of the most fantastic painters on this show, in my opinion that's lived in the last century, by the name of Ben Stahl.

And we were blessed with the fact Ben came here, and he painted with me, which was truly an honor to paint with a man of such a caliber.

He really was fantastic.

And just recently Ben passed away, and I'd just like to pay tribute to one of the finest artists that I have ever known, and in my opinion, has ever lived.

And probably one of the best ways to do that is in the, I remember what Norman Rockwell said about Ben Stahl.

He once said that "We are but illustrators.

Ben Stahl is among the masters."

And Ben now, now he truly is among the master.

Okay, just dropping all kinds of little things here.

There.

And you just work in layers, layer after layer after layer.

Every once in a while I'm going to pick up a little touch of the - ooh nice - of the bright red, put a little sparkle in that rascal.

Think where the light would strike out here.

Okay, just wherever you want to.

Just layer after layer, it's important though that you create these layers.

It creates depth in your painting, distance.

Makes all those nice dark areas that all the little squirrels and stuff hide in.

Let's go up here, this old big tree.

We need, we need to put some nice shiny leaves out on him.

Don't want him left out.

Don't want him left out.

And sort of work in patterns and layers, creating the individual effects in the tree.

See there?

Big old strong tree.

Okay, tell you what.

Very quickly here, put in a little bit of land area.

Then we'll have a finished painting.

Decide where your land is, use a little brown.

Just drop it in, see there?

A little touch of highlight.

Shoot, you've got a painting that you should be very pleased with.

A little bit of liquid white, cut you in a little waterline.

And your painting, and mine, would be done.

Tell you what, I'm going to call that one finished, and from all of us here, happy painting and God bless.

[announcer] To order Bob Ross' 256 page book with 60 Joy of Painting projects or his Four Seasons DVD set, call 1-800-Bob-Ross or visit BobRoss.com [music] [music]