- Welcome back, I'm glad
you could join me today. Today I thought we'd do a
great big almighty mountain, I think you'll really enjoy this one. So let's have them graphically
run all the colors across the screen that you
need to do this project. And they'll come across the
screen in the same order that I have them on the
palette starting with a Titanium White and working around. While they're doing that,
let's go up to the canvas here. I've already covered the canvas with a thin even coat of Magic White, it's wet and slick and ready to go. Let's start out today with
a two and a half inch brush and we'll go right into a
small amount of Thalo Blue. Thalo Blue is a very, very
bright beautiful blue. We're just going to beat that paint right into the bristles here. Just to get a nice even
distribution of color all over the way through the bristles. Okay let's go up to the canvas now. Let's just sort of play a little
color, just here and there. Just bounce it around, let
it happen, let it play. There we go. We don't want to cover
the entire sky here. Just want to cover it here and there and leave little spots open. There. There we go, after using a
big 'ole brush it didn't take but just a second to get
some color on the canvas. What we have left here,
let's just put it down here, it's a good place to clean the brush. There we are. Now without cleaning
the brush I'm gonna go right into a very small
amount of Burnt Umber. And once again, tap it into the
bristles in the same manner. Let's go up here and these
light areas I'm gonna draw a little bit of this
Burnt Umber right in here, I wanna gray the sky down an area so it's not just a real bright blue color. This is just a very small
amount of Burnt Umber. Almost looks like a Burnt Sienna color. A little bit over here and right in here. Once again we can just
sort of wipe the brush off in a little bit of this
color down in the bottom. I have several brushes going so I don't have to wash them continually. We'll take a clean brush and I'm just gonna begin blending the sky. Just making little crisscross strokes back and forth, little x's. This color is continually
mixing with the Magic White. It allows beautiful things to happen. It blends automatically rather than having to mix several colors. Let it happen on the canvas, let the brush work, let the canvas work. I'm lazy, I'm always looking
for a nice easy way to do this. Then a few horizontal strokes will take out all the brush marks. It'll give you a very
effective little sky. That easy. As I say today we're going to do a huge, huge big strong mountain that
has a lot of rocks in it. Let's mix up some black here. I'm gonna start with Thalo Green, you might as well if you're
painting along with me, mix up quite a large pile of this. Thalo Green and Alizarin Crimson. In about equal parts, maybe a tiny bit more crimson than green. Now normally we just mix
our color till it's marbled, but today mix it very well, we want it to be very thoroughly mixed so we have a nice even black color. A lot of paint, just really mix it up and when you're mixing, pick this paint up off the
palette and turn it over. Otherwise what's next to the
palette never gets mixed. It's very hard to tell
exactly what we have, so let's take a little white, put it right there, and just check it. There we go, makes a nice gray color and that's exactly what we're looking for. Clean my knife. Let's take some of this nice black color and let's build us an
almighty mountain up here, boy we're gonna, oh look at this. We'll put a huge mountain today. You're really pushing this
paint into the fabric. There we go and maybe comes, yep, there it is, right out through there. Just let it bounce and play, wherever you want it to go. All we're doing here
is just blocking it in so we're really not too concerned about, not anything happening in here. The only thing we're concerned about's this nice edge on the outside, the rest of it doesn't matter right now. It'll matter in a little while. Put another little bump right there. We're gonna do mountains it's fun to put little bumps on up here and there. (knife scraping canvas) You can probably hear, I'm really scraping that canvas hard, I'm pushing that paint
right into the fabric. There's really not a great
deal of color on the canvas. Take one of these old dirty brushes and I'm gonna grab this color and pull it. And as we mentioned on previous shows, when you're painting mountains, if you can see the entire
mountain it's always more distinct at the top
than it is at the bottom. Cause we have mist and now
we have wonderful pollution and all these things break
up into diffused light. Cause the bottom of the mountain to look softer than the top. When you're doing this, using brush strokes is a super
way to lay out your mountain, watch here. Can you see that? Just by pulling the brush across there. Just come right across. You can give yourself
all kinds of ideas of how you want to lay this mountain out. And you're not committed, you can change this. It's a super, super little way to, sorta cheat a little bit. Already you can see the
bottom of this mountain's much lighter than the top and that's exactly what we're looking for. Now we can start some highlights. I'm gonna take a little bit
of the same black color, some Burnt Umber, some Van Dyke Brown and some white. Just mix up several different
colors right here together, see it's darker here, it gets
lighter, lighter, lighter. That way you have
several things happening. We'll cut across it and
get a small roll of paint. It's right out here on the knife. Good, you can see that. That's what you work with a small roll. Let's go up here. No pressure, no pressure. All you're doing here is whisper light, barely, barely touch the canvas. Barely touch the canvas. Just let it bounce along and play. Barely touch, see you
didn't over mix this color and so all kinds of things are happening. If you over mix it then you
just get one dead color up here, we want all these
beautiful things to happen. Over here, this would
be in the shadow side, we're gonna have our light
coming from the right. Let's take some Prussian Blue, very strong color, dark, strong color. With that we'll make us a shadow color. We're using some Van Dyke Brown, Prussian Blue and a little bit of white. Same little roll of paint, let's go up here and over on this side, just allow some of these
little things to happen. You're still just barely,
barely touching the canvas. Whisper light, whisper light. Just let your hand float across there. Here and there we can add
a little bit more highlight so it shows a little light
playing through there. Same thing over on this side, a little bit lighter color. Just in a couple of places so it gives you the impression there's a little light, just bouncing through there. Now get a little dark on the knife. We just work that here and there to make some strong shadows, some deep areas. Just let it bounce around and play. Just to see, there. And that easy, gives
you a nice feeling of a big strong peak in the
background back there. Maybe, tell you what, today let's have a nice glacier
appear in this mountain. We'll start out with some Titanium White and I'll put a little bit of that black color in it just to gray it down. So it's not pure white. Pull it out very flat, cut across it, we get that little roll of paint right on the edge of the knife again. Now then, touch, no pressure, let the paint break, just let it come right across here. Just let it go. No pressure. No pressure. Let it happen. Just sort of in your mind think where you want this little glacier to go and where the snow should lay. This is your mountain so
you make these decisions. Create your own world
right here on the canvas. There we go. Very soft, very gentle. That'll give us a basic idea of where our glacier's gonna be. Maybe, maybe. Tell you what, maybe there's
a little bit of snow, there he is, lays right in there. Maybe while we got this going maybe there's some more right there. Wherever you want it, wherever. This is what makes this style
of painting so much fun, we use no patterns, we trace no pictures on
the canvas, no drawing. Shoot, I can draw a straight line but it's easy to paint. Much easier than trying
to learning to draw. Let's put some shadows in that snow. Take some white and a
little bit of Thalo Blue. Little bit of Thalo Blue, very strong. Just mix that together. We get that same little
roll of paint again. Go back up here. I would think, maybe there's
some shadows right in here. We just sorta lay them in. Lay them in, let em happen. Just like so. Gotta be some shadows right there. And a few right up in there, we don't want this one to be left out, we'll put a few shadows there. Right now that's basically all we need and we can start figuring
out where we want to have peaks and valleys and all
these big beautiful things. Maybe there's, there it is, there it is. Put a great big peak right there. It comes right up through. Maybe there's a little snow
right in between there. Anywhere you want it. You just lay it in. Maybe these peaks, there they are. Just kinda work right in there. We begin working out some basic shapes. All we're doing now is
just blocking it in. Just putting in dark color, we need the dark in order
for the light to show. Quite a bit of paint on the canvas here. When this is dry it'll
actually feel like rocks, it'll have texture to it. I like paintings that have
both softness and texture. Maybe we'll just bring
that right on across. Change that into several. There we go. Bring some of that right on down. Allow some of that white to run right up the side of the mountain here. Now then take some Burnt Umber right into my highlight color. Just mix it in, leave it marbled like
this, don't over mix it. There you can see it a little better, so it looks marble-y. Let's go up here. Here we're just barely, barely touching. Let all these little things happen. Don't overwork it. You can keep pushing
real hard on this till it all just sorta blends
together and we want it, we wanna have all these
different areas happen. Some dark, some light. Stones and rocks and all kinds of beautiful little things. Just let em go. Maybe there's a little
touch right in there, add a little more umber. Clean off the 'ole knife. Now very gently, barely,
barely caressing the canvas. You hold your hand very flat here. Very flat. If you notice sometimes it's so flat my fingers tough the canvas. Don't worry about it, it means you're just right, just right. Now we can sorta bring
this together a little bit. Pull a little bit of that
dark color right out into it. Just bring it all together. There we go. Now then. Let's start over here. We'll throw a little bit of dark in here. Wherever. Then we can start with some
shadows and highlights. Just let it play right down through. Now you just saw me get paint on my hands. That's one of the biggest
question we get in letters and we get hundreds and hundreds of letter from fantastic people. They wanna know how do you
get this paint off your hands, it's very difficult
sometimes to get it off. There is a product on the market, several of them, that you can put on your hand
before you start painting and paint won't stick to it. All you have to do is
just wash your hands with, warm soapy water, or just hold it under the water, paint'll come right off. You might check with your local art store, see about picking some of that up. Comes in handy if you're as messy as I am. Tell you what, maybe there's
a big ridge right here. Shoot. It's our mountain so we can do anything with it that we want to. Big ridge. There it goes. All we're doing once again, is just blocking all
this in with dark color. Then maybe, there it is, a nice little bump that lives there. Do you see how you can just
keep building on this mountain? Building and building. There's just no end to it. You can take and cover the entire canvas with nothing but mountains and that's a super, super way to practice. We just close that in and that'll sorta hold that
glacier right up in there. A lot of times glacier ices, cause it has very little oxygen in it, it might be even a greenish blue color. Little more of the umber and
some of the other colors, we just mix em here. I've got to the point
where I'm not sure exactly what color we're using, it just whatever happens
to be laying around. Let's go up here. We just drop some of
this in here and there. Just sorta look at it and evaluate it, see if it's what you want. If it's not, change it. Change it. Little bit right in there. See wiggle that knife and let all these little things happen. It's unreal what you can
do with an almighty knife and a little bit of practice. Just a few little indications here, not too much, don't wanna
lose this nice darkness. A few little things here and there. Don't wanna lose all that darkness. Just sorta bring all that together. Maybe there's a little
flat area right in here. Just lay in a little color. Just like so. Wherever, wherever. In your world you can do
anything that you wanna do. Painting offers you freedom. It offers you a world that
you can make anyway you want. It can be clean, crisp, sparkle. Or you can create moods,
storms, almighty rivers. Painting offers freedom. Gets you away from the everyday problems. Turns you lose on the world. Maybe what attracted me
to painting initially, the only place I had any power. Few little rocks and stones. I think that should give
you a pretty basic idea of how you can do beautiful,
beautiful mountain. In a very short period of time. Let's make some decisions and decide what else is in this thing. Maybe there's some little
evergreens back here that sort of move up the
side of the mountain. Start with a fan brush, we use a fan brush and I'm
using that same 'ole dark color. Same dark color. Maybe I'll add a little bit of the Thalo Blue to it right there. See how full that fan brush is though? Lot of paint in it. Let's go up the canvas here. Maybe there's a happy little
tree that lives right here. And he's far away. This whole group of trees is far away, all we want here is just some indications. We don't want a lot of detail. Just indications. Just sorta let him work his
way up the mountain here. There we go. Take a small amount of blue on the brush and just begin tapping right here. We need some dark color
right underneath these trees. Add a tiniest little bit of white. Look at that, oh that's pretty. Maybe we'll have a nice
valley under this mountain. Such a big beautiful mountain, I don't want to put too
much in here and distract. We'll take a little bit
of this black color, I'm gonna add to it Sap Green. So I have black with Sap Green. I'm just loading the
brush full of paint here. Let's go up here and then
just begin tapping it in. Now the big thing we're
looking for here is angles, we have to make a decision
about the lay of the land and where it goes. We're looking for angles, again creating the lay of the land. There we go. You know in the first show
that we had in this series, I mentioned to you, that in this series I was
gonna bring a few friends on in and show you some fantastic painters. Next week, I hope you join us because I'm gonna bring you a
super lady named Dorothy Dent. She comes to us out of Missouri. If you haven't heard of Dorothy, by the time the show's
over you'll understand why I'm so crazy about Dorothy and the way she paints. She is unbelievable, so I hope you're with us next week and hope you enjoy it. We're probably gonna
be doing a whole series with Dorothy in the near future. Stop by and see us next
week and see what you think. There we go, just drop that right in. We want it to blend evenly here. So here I'm just taking that out. Alright, now with the
same 'ole dirty brush, I'm gonna add a little tiny,
tiny bit of paint thinner. And go right into some Cad Yellow. Now since I have green
already on the brush, when I hit this yellow, I'm gonna get some
beautiful, beautiful greens and I'll I'm doing here is just tapping. Just tap, tap, tap, tap. Maybe a little Yellow Ochre. Sort of work the color back and forth, mix the color on the brush. Okay let's go up here. Maybe there's some beautiful little hills, once again, pay attention
to the lay of the land. And begin highlighting some of these, barely touching, just gently tapping down. Now if there's a little hill here you want the top of the hill to be the brightest cause that's where the
most light would strike. And let it get darker
and darker and darker and darker and darker. Maybe, maybe. Now I see another one right there. Just visualize these in your mind and drop em in. A little Indian Yellow. Just let em go in. Maybe right here, there's one back in the distance. I don't want as much color back in here. Very, very soft, very quiet. I like this kind of painting because it has both
harshness in the mountains and then it's very, very soft down here. That brings so many
different things together. Just the way nature does. And study nature, nature is the best teacher. Nature will teach you color, composition. Just study it and look
at what's around you, no matter where you live, even if you live in the city. Nature's still there. Beautiful things everywhere but sometimes we look at em everyday and we get to where we don't see em. There we go. While I have this big
'ole brush going here, tell you what, maybe there's a big tree lives right here. So I'm gonna go right
back into this dark color, this is that black right
into some Sap Green. I'm gonna pull this
brush in one direction, look a there, really pull
it through the paint. Turn it around here so
you can see the end of it. Look at all the paint
that's in that son of a gun. It is really full. Let's go up to the canvas. Now decide where you want to have a tree and maybe a tree lives right there. Touch, push, bend. Just touch it, bend it. Touch it and bend it. Really make that brush work, make the paint work. Maybe it comes right
on down the hill here. This is just black and Sap Green in it. We just fill all this in. In case you joined us
late the black is made from Alizarin Crimson and Thalo Green. Makes a beautiful, beautiful true black and it's very transparent. A lot of the shows we
do the black canvases and we're always looking
for transparent color. Maybe going down this hill here, tell you what, use this same 'ole black and green color. Throw a little Prussian Blue in it, that's nice and strong. Maybe there's some little
evergreens that live right there. And same as we did in
the back, back there, we're just making indications
of these little evergreens, we don't wanna get em too distinct, we want em to run right
over the edge of the hill. Right on off into the distance. There they go. Maybe tell you what, maybe there's one that lives right there. Maybe it rained a little more on him and he got stronger. Maybe he's a little older, we'll make a little more detail. Tough old tree. But even tough old trees need friends, so we'll give him a little
friend, right there. Right there. Now then just use the one inch brush, I put a little paint thinner on it. Or you could use a little Magic White, I'm using paint thinner today. Just something to thin the paint, our golden rule if you remember, thin paint will stick to a thick paint. Pull that brush through there, a lot of color on it. Let's go up here. Now then, touch, push. This is where we make all
the beautiful highlights. When you're doing this at home, if your paint doesn't
want to stick on here, which is one of the major problems, then your paint's too thick. Add a little bit of paint thinner or a little Magic White to it and you'll find it sticks. You have to start with a
paint that's very thick. I'm adding a little
Yellow Ochre to my color. We'll go right here and we'll make another happy little bush. Just like so. Right there, there's another one. Just drop him in. Maybe there's one right there. Wherever, wherever, this is your world so you
drop em in where you want em. Tell you what I'll just wipe off this fan brush a little bit. I'm gonna go right into
some Van Dyke Brown. Maybe there's a big beautiful pine tree that lives right here. I like to do big trees and I'm just using this Van Dyke Brown. Tap, just tap it right into the canvas. Boy there's a big 'ole tree
coming right along there. We need some highlight on this tree. Without cleaning the brush I'm going right into some Burnt Umber. And a little bit of white. I'm gonna come right down the side here and just put a little bit of highlight, right along here. Just like so. There we go. Just work it in. With a little bit of paint
thinner on the liner brush I'm going into some brown and just put a happy little limb or two out here on this tree and I'm turning the brush so it makes all kinds of little things happen. Just like so. We're using a paint here
that's very, very thin. And it flows. So wherever you want these limbs, just drop em in. Maybe they come right on around, wherever. They don't all just hang
right off the sides. We can put some little arms out here. Like that. I'm gonna use a little
yellow, a little Sap Green and we'll put a little
tiny bit of highlight on these little evergreens here, don't want much, wanna keep them dark. Back to my other fan
brush with a white on it, maybe tell you what,
there's a little bitty path. There it is, right there. Give us the indication of a little path. Then with a fan brush just very gently pop in some little grassy areas. Just pushing upward with a brush, let em go. There's some right there. Coming right on along. And that easy. That easy you can build
a beautiful mountain, almighty tree. Add a little leaf right up here. I think with that the 'ole clock on the wall tell us it's time to go. So from all of us here I'd
like to wish you happy painting and God bless, I'll see ya next week. (peaceful instrumental music)
as he draws well, not everyone is given so much, although they say that everything can be learned, how do you think that this is possible?