- Hi. Welcome back. Certainly glad you could join us today. Thought today we'd just do a
painting that's a lot of fun. So I'll tell you what, let's start out, have
'em run all the colors across the screen that you
need to paint along with us. And they'll come across right there. While they're doing that, come on up here and let me
show you what I've got done. I've got my standar old
18 by 24 inch canvas or you use whatever size you'd like. And I've covered the
entire canvas with just a very thin, thin even
coat of liquid white. The liquid white, as you know, makes the canvas wet and slick and it allows us to actually
blend color right here, rather than working ourself
to death on the palette. So let's start today with our
little, tiny two inch brush, and we're going to, oh, let's use a beautiful color today. let's use a phthalo blue. I like phthalo blue,
that's a gorgeous color. Just a little bit on the brush like so. And let's go up in here, start right at the top. And we'll just make some little, some little criss cross
strokes, little x's, just like so. Very gentle. There. And you can make this
as dark as you want it, or as light, it's up to you. There. And just sorta dance it around, and I'm gonna leave some holes open here and there, and there and here. Alright, maybe we'll, maybe we'll have a little
water in this one, too. Shoot, while I got that
old blue goin' here. Let's just come right across here. Put the indication of a little
bit of water down in here. Because anything that we
don't want to be water, we'll just paint right over it. We don't care. As you know, we don't make mistakes, we just have happy accidents. So we learn very quickly to live and to enjoy anything that happens here. There. Ok, now then. I'm going to grab another brush, I have several of 'em going. And with that one, I'm going into a little
bit of alizarin crimson. Just a very small amount. Don't need a lot, just a little. Let's go back up here. And in this area, I'm just
gonna take a little crimson, and blend it, like so. Now when your'e putting this crimson on, use very little color. Very easy to go back
and add a little more. But we don't wanna set this sky on fire. All we wanna do is just put a
little pinkish glow in here. Something about like it. Just want it to blend
right up into the blue, and just disapear. Thought maybe today we'd just do something that's a lot of fun and
I think you'll enjoy it. Alright. Ok, now we get to wash the old brush. If you've painted with me before, you this is the most fun
part of the whole procedure. Just shake off the excess, (brush banging)
(laughing) and beat the devil out of it. That is a lot of fun. Now then, we'll just
take that same old brush, go right into a little
bit of the titanium white, just tap it. Very simple little way of
making some little clouds here. Go right up here, and we just tap in some
very basic little shapes. Not looking for a lot
of real distinct clouds, I just want little floaters
that live up here in the sky, and just have a good time. There, something about like that. Maybe up in here. Just gonna dance in a little white, 'cause I don't want these
to be very distinct. These are quiet little clouds, today. Sometimes we do clouds
that really stand out, but today, just a little floaters. There, now very gently, very gently, One hair in some air. Just graze the canvas just enough to blend that together a little bit. And that'll give us the indication, some little clouds that just float around here up here in the sky and have a good time. Tell you what. The other day I, I visited a very good friend
who was in the hospital and he told me he liked mountains, so I promised him, promised him I'd do a mountain for him. So, Frank, this one's for you. Alright, let's take some prussian blue, some black, some alizarin crimson, I'm gonna put more crimson in there, so it goes sort of to the lavender side. We'll cut off a little row of paint, it should live right on the
edge of the knife there. So let's go up in here, alright, maybe back in here, in our world. We'll just put in a
very basic little shape. There, we're gonna have
a ridge of mountains. Something like so. There. And I don't wanna have a lot
of big sharp peaks in this. Just a little ridge. There. I spent a little time up in
British Columbia a while back, and they have some of the most
gorgeous mountains like this. I just absolutely adore 'em. They're so big, just huge mountains. Ok, now the only thing
we're worried about is this nice edge up here on top. The rest of it, we don't
even care at this point. Later on we will, but right now, we really don't care. This brush's got a little paint on it, but it's alright, 'cause
I'm just gonna grab it, and pull it down. There, you don't have to
clean the brush to do this. 'Cause all we're doing, is
we're moving excess paint and blending it downward. Something about like so. See how that paint moves. Now if the canvas was dry,
we'd be in agony city, right about now. That paint just slides right
on the liquid white though. Makes it work so easy. Allow the canvas to work, shoot. I'm lazy, I look for
easy ways to do things. Alright, pull the paint out
as flat as we can get it. I'm gonna reach up here and
get a little touch of black. I wanna grey it. Be right back, get a little more. There, a little bit of black. Just mix it, but I'm not over mixing it. Maybe I ought to even put a
touch of bright red in there. Ooh, that's nice. That's nice, I like that. Flat as you can get it. Then cut across, and get a little roll
of paint, once again. Pull it out flat, just
a small roll of paint, lives right on the edge of your knife. Let's go up in here. Now, we're going to check
and see how delicate you are. No pressure, just touch it, and allow it to glide
right down the canvas. No pressure, no pressure. See there, very gentle. Very, very gentle. Easy. It doesn't take a lot of paint. But it does take a very
delicate little touch. There, it just, just gently, gently caress the canvas. There we are. See there. Ok, maybe even over in
here, light'll strike right. Now you have to decide
where you think light would strike on your mountain. Let's take a little, use
a little prussian blue. It's darker than phthalo blue, maybe even put a little black in it. A little black, even a touch of little van dyke brown in there. Ooh, that's good. That's a good color. And that will be our shadow color. Once again, leave it sort of marbled. Cut off a little roll of paint, just like we did before. And then we can go back in here, and begin picking little areas
that we think are in shadows. And just touch it. Give it a little pull. Very gentle. Very, very gentle. See. No pressure, absolutely no pressure. Just begin adding in all
those little shadow areas. Here's one, just wherever
you think they should be. And we're just gonna play
shadows and highlights, back and forth here, back and forth. And forth and back. There. Something about like so. Alright, see, we'll touch
a little highlight color. And that easy you can make all
kinds a little things happen. And maybe down in here. Yep. Looka there. Maybe it get s a little bigger down here. We don't know. In your world, you create
any illusion that you want. Any illusion that you want. 'Cause you can do that here. There we are. Painting is nothing but games of illusion. Alright. There comes one. Swuh, You knew it was there, didn't you? Alright. Ok, and see that little bit of pink here, it's gonna show through when we're done and it'll look a little
bit pink, pink like mist that's sort of floating around the base of this whole mountain. Maybe I'll have a big tree over here, I don't worry too much about that. You know me, I like them old big trees and, chances are 'fore this is over, we'll do one. There we go. This is an excellent way to
practice using the knife. Make mountains. When I was learning to
paint with old knife, I used to take a big old canvas like 30 by 40 inches, and I'd start at the top of it, and I'd start painting mountains. And I'd paint from top to bottom, nothing but mountains. And I got finished, I'd stand
back and look at it and decide what was good and what was bad. Then I'd take a big putty knife and scrape it off, and go right back, and do it again. 'Cause practice, that's
what makes perfect. You know the old sayin'. Practice makes perfect. There we are. See I want that to just disapear right down here into the bottom, just, just gently float away. Now then. Let's take, we got the old brushes dirty. We'll take a little of that color, we was using for shadow color. What the heck, we don't care. It's mostly blue and white. Little black in it. Tap, maybe back here in our world there's a, maybe there's a little foothill that lives way back up
here against the mountain. There he comes. Drops down maybe, shoo, like that. It doesn't matter. But all you're doing is gently tapping, gently tapping. Now take, in little tiny strokes, tiny, little quarter inch high strokes. Lift upward. And it'll make it look
like little trees that live a million miles away, way back against the base
of that old mountain. Let's have another layer. Shoot, that was fun. Take the same colors, only I'm gone make it a touch darker. As things get closer
to ya in the landscape, as you know, things get darker and darker. That's what helps creat
the illusion of distance and depth in your painting. Maybe this one comes, shoo, right out like that. Climbs right up the side of the mountain. Little trees that live right up in there. There they go. See 'em. Isn't that fantastic. There. Now once again, very gently, little short strokes. Lift up. Even though this goes up the hill, still lift straight up. Or your trees'll look like, it'll look like there's a
wind goin' through there at about 180 miles an hour, look like a hurricane hit. There, and we don't want that. We want the trees to stand up straight. There we are. Now, same color. Get a little more paint on the brush. While we have that goin', let's have us a, just a
happy little reflection. And it lives right down below that. Like it. Pull straight down. It's important you pull straight down. Maybe back here there another one. Get a little more color on the brush. There, see. Then go gently across. Barely touching. Barely touching. And, that easy, that easy, we have instant reflection. A little bit of the
liquid white on the knife. Pull it our as flat as you can get it. I'm a add at least a
touch of bright red to it, just enough to warm it a little. Go across, get a little edge of paint, right out there on the end. And let's put a little water line. Maybe there's one right there. Like so, there's one. If it's too distinct, too bright, just wipe your knife off, go back over it. The more you rub it,
the more it'll go away. 'Til it just disappears. See there? Now we got a, got a little water line that lives right there
at the base of all this. But make these lines basically straight. If they're not straight it'll look like your water's
gonna run outta your painting. And that'll bother you. I know sometimes you, I know you've looked at paintings and you'd look at the
painting and you'd say, something's wrong with that painting, but I just don't know what it is. Your logical mind tells
you what's wrong with it, even if you don't see it. And sometimes it can be
as simple as a water line going up or down hill. And it'll bother you. Ok, let's go back into, what do we got goin' here. let's take some van dyke brown. I'll just use that mountain color, that was some prussian blue and black. All those good colors. I want a dark color. But I'll put some brown in it. Ok, maybe in our world we
got a nice mountain here, maybe right there. You be the judge, you
put it where you want it. Maybe there's a little bump
that lives right there. There he is. Let me just drop him in. Shoot, I'll tell you what. Let's get crazy. Maybe there's a, maybe it comes up like this, goes over, goes up. Just let your imagination go. You know that's one thing so fantastic about painting landscapes. There's so many possibilities. If you paint a portrait, and you put somebody's
eye in the wrong place, chances are they're gonna notice it. But if you put a tree in the wrong place, or he's got a crook in him. Somebody'll come along and say, I know that tree. Him and I went to
different schools together. Because in nature, everything is just fantastic and there's trees that are dead and alive
and bent and crooked. There. I'll tell you what, let's
just fill that all in, while I got it goin' here. Little more color on the brush. We'll just paint it in, it doesn't matter. Just any old way, any old way. There. Take that same old brush. I'm a go into, a little bit of cad yellow, get a little touch of blue in there, and some sap green. Ooh, that's nice. I want more yellow ochre, though. Maybe we'll go more into
fall colors on this one. Yellow ochre, a little sap green. Let's go right up in here. And back here, far away. We'll put a little grassy area
right out here on the hill. Put a little bright red with that too, if we gone have a little fall color, we want to shine. Ooh, yea, that's better. That's better. We need a tree. We need some trees. I like to paint big old Evergreens. Let's take, let's see, prussian blue, black, some brown, a bunch of crimson and some sap green. That sounds good. As long as it's dark, it doesn't matter. Ok, and we wipe off the old knife here. Let's grab a fan brush. Ok, we'll load it full of that dark color. Lot of color in the bristles, both sides. Just fill it up. Alright. Let's go, here's your bravery test, right across that mountain. Right there. And sometimes we make evergreens that we push down, and sometimes we push up. Today let's push up. Makes those ones that have limbs that lift up upward into the sky, and they watch all the birds, and here you could watch that gorgeous mountain in the background. There, I'd like to live right here and be able to see that
out my window everyday. There we go. Maybe here there's a
few little indications of some more little trees
that live back in here. And I'm just tapping downward there. Right here. There, push up right there. We'll make a, maybe there's
a little bigger one here. Once again, just sorta
let your imagination go. You put 'em where you want 'em. Wherever you want 'em. Give 'em a little friend. I think everybody should have a friend. Even a tree. If you want little bushy things. Somethin' like that. I'm gone grab another fan brush. I have several of 'em goin'. Little bit of the yellows. Grab a little sap green. But, mostly into the yellow ochre, indean yellow, and grab
a little of that red. Ooh. But mix color on the brush. There's a lot of things
happening on that brush. And a nice way to make
some little grassy area is just take the fan brush,
give it a little upward push. Use the corner or you'll get smiley faces, or smiley frowns. I guess the smiley frown is a
smiley face upside down, ah? I don't know, but you know what I mean. There. See, just begin putting in
some nice little areas here. Something about like that. There. Alright. Now, then. Shoot, tell you what. I'm gone go back to making trees. I like to make those trees. They're a lot of fun. Go back into our dark color. This is your bravery test. Shoo, right there. Big tree, big tree. There, here he comes. They live right here in those brushes. All you gotta do is just
sorta scare 'em out. Sometimes I like to let a
little bit of the stalk show, a little bit of a trunk. There, he's got a little
bald spot right there, and I can relate to that. There we go. I'm gettin' one of those myself. There he comes. Big old tree. There. And we'll separate all these limbs with highlights in a minute. Right now, we're just
putting on the base color, well, we're painting the back of the tree, we'll come along and paint
the front of the tree here in just a second. Ok, a little bit more color. Hm, ok, he needs a friend too, I guess. So we'll give him one. There, see how that'll just, help push that mountain
way back into the distance. Alright. Isn't that fantastic. So there we are, and there's another big old tree. And maybe, you know, when I lived in Alaska, you'd see times when there was a little bit of snow still showing. And snow, it'd begin to snow maybe, and the grass was still there and little patches of snow. So we'll take that same mountain color, or maybe in your world,
you want this just to be little pieces of land that are showing, it's up to you. You decide. But just like you put, the
highlights on the mountain, barely, barely touch the canvas, and let the paint break. And by break I mean all these little holes that it has in it. There we are. See all the little holes. And we'll come back and we'll put some grass all the way around those. And, let's see, a little bit of liquid white. Take a little yellow ochre, a little touch of that bright red. Ooh, that's a nice color. Be right back, grab a little
crimson to put in there too. All the yellows, crimson, little red. Let's go back. Now that we can come back in here. Boy that's pretty. That is a pretty color. That's what happens when
you mix color on the brush rather than trying to mix
little piles of color. You have happy accidents. And those happy accidents turn out to be some of the most fantastic things that could happen. There, just pushing upward. But sort of work in layers, don't just hit it random. Sorta look at it and decide where all these
little rascals live. There, you can use one
side of the fan brush to use up all the color, and turn it over, use the other side. There we are. Just sort of slip 'em in
between these little areas. There we are, alright. Fantastic. There. Every once in a while if it, if you wanna make it go
on a little bit easier add the least a little
touch of paint thinner, or liquid white. The liquid white will change
you color a little bit, makes it a little lighter. Paint thinner will keep the color pure. But don't put too much. It takes a very, very little of it. Very little, get a little
dark sienna on my brush. I want to get into a little
bit of the browns up here. There, a little bit more. Ooh, I like that. Like that, that's good. Good colors. That reminds me of, as I say, when I used to live in Alaska, there was some of the most
gorgeous scenery there. There we are. Ok. Tell you what, let me wipe
off the old brush here. And let's come back and, well, guess we need to
put a stalk in there. A little tree trunk. We'll take a little bit of the white, a little dark sienna, maybe
a little van dyke in it. Ooh that's nice. There, leave it marbled, cut off a little roll of paint. Leet's go up in here. Put us in a little tree trunk, we don't want that
little tree to fall over 'cause it don't have no bones in it. There. Gotta have a little skeleton. There we go. Now our big tree. Oh, big tree. This is papa tree here. There. Looks like mama and papa tree and all of her children. Could be, who knows. Who knows. Put a little bit of the liquid white. I'm gonna get some sap green, maybe I'll get a little black too, that'll darken it, ooh. A little bit more. I like it. I want a dark green color here, though. There, load the brush full of color. Let's go right up in here. Now let's come right along here. And let's just put the indication of some leaves, some highlights
on these little rascals. There we are. A few right in here. There they come. Now, our old big trees. Which one's in the front,
which one's in the back? Big decision you gotta make. I think this one's behind, so we'll do it first. But in your world, maybe
you want this one to be the tree in the foreground. It's up to you. Ok, a little paint thinner. I'm gonna add a little
yellow ochre to that too. Just to change the flavor. There we go. Something about like that. And figure out where
all the little limbs are in here and there. Shoot, but isn't that a nice way to make some big old trees? There we go. Scratch in a few sticks and twigs, and we're to the point of
having a finished painting. Hope you've enjoyed this one. It's a lot of fun. I'd love to see a photo if you do it, so send me one. From all of us here, happy painting, and God bless my friend. (light rock song playing)
