- Welcome back. I'm certainly glad you
could join us today. Thought today, we'd just do a beautiful little mountain scene. Maybe we're way up high in the mountains, and looking out over some
beautiful landscapes. So, I tell you what. Let's start out, have 'em run all the colors across the screen, that you need to paint along with us. While they're doing that, let me show you what
I've got done up here. I have a basic idea of what I want to do. So, I've covered this
area with Black Gesso and allowed that to dry completely. On top of the Black Gesso, I've put a very, very
thin coat of Liquid Clear. All the way over the black part here. Then I put transparent color. Today, I'm using Prussian
Blue and Midnight Black. I've just put a thin coat of that color over the entire black area. And this, we've just covered
up with a Liquid White, like we normally do, so it's all wet and it's ready to go. So let's just have some fun today. I'm gonna start out with a little bit of Midnight Black and Prussian Blue. Same color we have in the black area. On the two-inch brush. Let's just drop in a
quick little sky up here. We'll just use the little
criss-cross strokes, and just very quickly, just
lay in happy little sky area. Just making little X's. There. That's all there is to it. We'll bring that right on down. Right on down to the black area, nearly. But it's mixing with the Liquid White and automatically it gets lighter and lighter in value as we work downward. (brush sweeping across canvas) And down here, we'll have
it just about disappear. All right. We just blend that a little bit. I don't wanna blend it too much, cause I wanna have little
spots of color in there. So there's something happening in the sky. It's just not flat and dead. Okay now, very lightly,
we'll just go across. That'll remove the brushstrokes. Okay, let me wash the ol' brush. And as you know, we wash our brushes with odorless paint thinner. (paint thinner splashing) (brush thwacking) (Bob laughing) And just beat the devil out of it. Let's make some little
clouds in our sky today. I'm gonna show you the simplest way of making some little clouds. We'll take the fan brush, with a little Titanium White on it. Just load a little color into
both sides of the bristles. We'll go up here, and this is where you take out all your frustrations. Just hit the canvas
and let that brush spin and just move on there. Think about where you want
some little actions happening. Just keep it moving. Don't stay in one place,
or you'll just have big cotton balls up here. Just let it sort of
move and dance and play. Wherever, wherever, wherever. Just sorta think about
where you want little cloud to float around in the sky. But keep the brush moving and twisting. All the time. There. Now then. (brush banging) With a brush that's
very clean and very dry, and it's most important that it be dry; very gently, just tickle it a little bit. There, just sorta blend
it together a little. And you can blend this
as much as you desire. If you blend it enough,
in fact, it'll just become part of the background
and go away totally. So you have to make a decision. Stand back and take a
look-see once in a while. Decide if it's blended
as much as you want it, or you'd like to have a little more. Totally and completely up to you. There, now very lightly, we'll just sorta blend that a little. (brush sweeping across canvas) Okay, that easy. We have a very nice little sky. (brush banging) Shoot, let's get crazy today. Tell you what I'm gonna do. I'm gonna take some black. Let's use a little Phthalo
Blue, what the heck? And Alizarin Crimson,
cause the two of those together will make a
nice lavender type color. And the black will assure
that it stays dark. Pull it out as flat as we can get it. Cut across, get our little
roll of paint, as usual. Right on the edge of the knife. Now come right up in here. We have to make some big decisions today. Maybe we're gonna have a
huge mountain that lives. There, now you can see it. Right up in here, little more color. You just sorta make a
decision, where you think this old mountain's
gonna live in your world. Wherever. (knife scraping canvas) This is really gonna be
some kind of mountain here. Have to be careful with mountains. Them son-of-a-guns will grow on you. Maybe there's another little
bump right there, comes down. I don't know, wherever. There's one. Just sorta make a decision. Decide where you think they should be. You could even take a little white with a little touch of that same color and maybe back in here, we could have indication of a little mountain that lives far away. Now put a little white with it, so it'll really look like it's far, far back in the distance. Probably shoulda done that
before I did the big one. It woulda been easier. But I didn't, so we'll live with that. Take our brush, let's do the
little mountain back here. Just pull that down, like so. Little Titanium White, and
I don't want much back here. Just the indication of a little
highlight on this mountain. Lives far away. Just a little somethin' like so. A little white, a little
touch of the Phthalo Blue. (knife tapping palette) Make us a nice little shadowy color. Just put the indication of a
few little shadows in there. Once again, we don't want a lot in here or we'll lose that illusion of distance for that particular little
mountain, if it's far away. Now, this one here, lives
right here in the foreground. (knife scraping canvas) There he is. Big strong mountain. I'm gonna scrape off all
the excess paint here. Just really get in there and scrape it. You're not gonna hurt
that canvas, it's tough. With our two-inch brush, grab it. Bend the bristles ...
really get strong with it. Make 'em bend. You can pull that paint,
because the canvas is wet. You can move color on it. If this was a dry canvas,
you'd be in Agony City right about now, tryin' to move color. Since it has the Liquid White on it, you can do this and it
happens very easily. (brush swishing across canvas) There we go. Now then, back to our Titanium White. We pull it about as flat as we can get it. Really get in there and
put some pressure on it. Cut across and get our
little roll of paint. Now we have to make big decisions. Where does all these
little things live in here? There's a little peak, maybe right there. No pressure, no pressure, no pressure. Just let that float across there. You have to decide, which
peaks are in the foreground, which ones are in the background. You have unlimited power. You can do this. There. Okay. Maybe way up in here. Maybe there's a big ol' peak here. (makes swooshing sound) These look like the Tetons. The Grand Tetons, beautiful
range of mountains. Still trying to figure
out what Teton means. There. Maybe right in there. See, let it go. Just let your imagination go. You can create all kinds
of beautiful effects. Just that easy. Let's go back to our little bit of Phthalo Blue and white. Wipe the old knife off. Cut us off a little bit of paint. Now then, let's come right along in here. Touch, and just let this
fall right along like so. There we go. Maybe, just sorta comes
right along in there. Just let your imagination take you wherever you wanna be here. Sometimes, you can just take the knife and let the paint break this way. There. (knife tapping palette) Little bit right up in
that little crevice there. All these little places have
to have shadows in them too. Shoot, here's one. Maybe it comes right down here. Big crack in the mountain there. Let's take the little knife. I like this little knife. Let's get in here and just play. Maybe there's a little
valley right in there. Just a little place right in there where all the little creatures go to hide. Like that. Then we can take, and
just bring this right up. There it is, wherever, wherever, wherever. Once again, you're only limited
here by your imagination. There. (knife scraping and tapping) Maybe a little bit of
shadow right in there. Wherever. Okay, now then. The clean, dry, two-inch brush. I wanna create some mist
at the base of this. Just tap, always following those angles that you put in there and
lift gently, gently upward. Just lift it upward. (brush tapping and gliding) There we go. And over here, grab that and let it sort of blend outward,
so it looks very soft. See there? Very gentle, peaceful. There. Okay, now. And sometimes it's fun ... I tell you what, let's
just do it, what the heck. Watch right here. Maybe right in here, there lives another little peak, right there. All you gotta do is take a little white and drop that little rascal in. I don't know where it goes. Wherever you want it. I know when I was young, I always wanted this much power. To be able to move mountains. There. And on this canvas, I have that now. And you can too. (knife scraping) There. Don't have any power
anywhere else, but here. I can do anything I want. Little shadows right in here, like so. There. Wherever there's a little peak, you have to have a little shadow, to make it look right. We take our clean, dry
brush, and once again, we want to create that illusion of mist. We do that just by tapping
the base of it here, and then lifting upward. Blends it all together, and
takes out the little tap marks. There. Okay. We just blend that to any degree
of softness that you want. You can even tap it a little down here, if you're real careful,
and create the illusion of little clouds and
mist that are floating all down toward the base of this. Just using the top corner of the brush. Okay, good. Let's take, we'll use that
same color, what the heck? I'm gonna a put a little white with it. Same color, little bit of white with it. Maybe I'll add the least little
touch of Sap Green to it. (knife tapping palette) We're getting close enough
into the foreground here that we can begin seeing some color. Little bit of green. Wipe the old knife. Let me grab a fan brush here. There's one. Load it full of color
and maybe right in here, there's just a few little trees that live. Right in there, wherever you want 'em. As many as you want. Just drop 'em in. (brush scrubbing the canvas) There. Okay, just sort of tapping
downward with the fan brush. There's one, maybe this
one's a little bigger and you can see a few limbs on him. Most of 'em are gonna be too far away, but maybe here and there we
can see the limbs on a few. Just a few. There we go. Okay, there's another one that we can make out a little detail on. Maybe on this side over
here there's even one. All right. (brush tapping) I'm gonna take two-inch brush and just tap the base of it here. I want to create more mist
at the bottom of these. Each layer, I like to have a little mist at the bottom of a layer. That acts as your separator. And you can do that very
simply, by just tapping. Just tapping a little. Each one of these layers create another plane in your painting. The more planes that you have, the more depth that you'll
see in your painting. To me, that's what really
makes a painting spectacular is when you can see layer, after layer, after layer of depth in it. Let's mix up, take some
black, Prussian Blue, little Van Dyke Brown, Alizarin
Crimson, and Sap Green. We've got just about
everything that's a dark here. Okay, let me wipe the old knife off. We'll use the old fan brush again. Load it full of color, full of color. Now then, I think I want some big rock formations, as
we mentioned earlier here. So, back in here, maybe there's some little evergreens that
have grown way up in here. Let's just start putting
in some basic little shapes that live way back in there. Just a few. There, we give him a little friend. We don't want him settin'
way up here by his self. Shoot, he'd get scared. There. Maybe there's some in here. Now, one thing that we did here. If you remember, we did
this Black Gesso thing here. And I just sorta painted the indication of a few little trees in there. Now the paint is transparent enough that they will continue to show
through and it'll look like a lot of trees in the
background, that are shadows. So don't cover up each one
of those, when you do yours. Leave 'em in there. People will think you worked
like devil to put 'em in there. And you didn't do anything, but shhhhh. That's our secret. There we go, maybe this one's
got a little yaha in him, a little crook in him. See, you can see this one back in here. That was done with the Black Gesso and it almost looks like a little tree that's laying back here in the mist. It's a sneaky way of doin' em. Just here and there, wherever you think these little rascals should live. (brush tapping canvas) Maybe down here we have a few more. Touch, use the corner of the brush. Work back and forth. Like I mentioned in some other series', if you painted with me before, that a lady in class one time said these were Z trees, like Zorro. Z trees, maybe that's a good analogy. Just sort of working back
and forth, making little Z's. Sometimes, when you're painting over, like this white back here. There's a lot of white paint here. Sometimes, when you're painting over that much paint in the background, your brush will begin picking that up. If that happens, add the least, and I say that again, the least, little amount of paint
thinner to your brush. And go through the paint. It'll make it a little thinner. And as we know, thin paint ... Maybe right there. Thin paint will stick to thick paint. You just put as many or as few of these little devils in here as you want. We'll take another fan brush here. We'll take a little of that same color, and go into a little bit of Cad Yellow, a little Yellow Ochre. Shoot, we'll grab a
little Indian Yellow too. Just mix 'em together on the brush. Want it darker, so we pick up a little more of that mountain tree color. Little bit more. Oh, that's good, that's good. Let's go up here. Now then, we can come right in here. Let's begin putting in a
few highlights on these evergreens back here, don't overdo. It gets good, feels good. Sometimes you forget to stop. Then it's all over. Because if you kill all
this dark area in here, then your tree's gonna look flat We want it to have shape
and dimension and form. So don't overdo, and I
know that's a tendency. I do it myself continually. There, leave 'em quite dark. Shoot, maybe, let's go
up here on this big rock. Maybe there's even a little color. I don't want a lot up here. But a little, that you
can see here and there on these big stones, I
don't want much up here. In my mind, the stone's a
little bit further back. I don't want a lot there. Now then, let's take some Van Dyke Brown, little Dark Sienna, we just
do it on the fan brush here. Maybe we have our stone lives right here. All I'm doing is just putting in some very basic little shapes. Maybe there's a big
projection, right there. We just gonna fill that in
with a lot of dark color. Shoot, maybe 'em old
rocks project out, down. (determined groan) Gotta make 'em little noises,
to get them rocks just right. We'll take the small
knife, or the big one. Whichever one you prefer. Little Dark Sienna, little
white, little blue in part of it. See, there's two or three different colors going on here now. They're just not all the same. Just in one pile though, you can have several things happening. That way, you can get
a multitude of things on your knife in one loading. See, just cut across, get a little roll. We'll go up here, and maybe there's a little light playing
right through there, and sort of see if you can bend that over. So that rock just sort
of hangs over there. There it comes, maybe
there's ... all the way over. Barely, barely touching the canvas. There. In the shadow part of it,
there's very little color. Only out here where you
think light would strike. Wanna keep it quite dark so it does not lose its effectiveness. Just begin thinking about rocks and stones and how they would set in here. You can actually just about sculpt 'em, as you're doing these things with a knife. Shoot, look at here,
maybe this big old rocks comes down. (groaning) There we go. Once again, gotta make
those little noises. Something like so. Now then, we'll take a clean,
and very dry large brush and this is two hairs and some air. Just barely touch it and begin pulling that paint a little bit. Just a little. There, see? Barely, barely touching. But you have to follow
those angles in there. Have to follow those angles, or it just doesn't work out right. This in one of the easiest, nicest ways of making large effective stones that people will really think you worked for long periods of time. And at home, you can
sit and add and blend, and add and blend, until you get it exactly the way you want it. But with this large brush here, it's the most gentle touch. (controlled exhalation) That gentle. Like a whisper floating over there. Tap that brush into the least little touch of Titanium White. Least little touch, just
the corner, top corner. Top corner. We can create the illusion of mist. Right there. Least little bit of Titanium White though. Like making a little
cloud down at the bottom. (brush skimming across canvas) Now then. Let's go back, get some Van Dyke Brown. Let's come right in here. Maybe there's another little stone. (groans) Lives right there. Right there, comes right along. Something like that. Comes on right on ...
wherever we want him. Here and there, gonna be a little. We'll have this just hangin over. All we're doing is putting
in a Van Dyke Brown, a little Dark Sienna here. We don't need much, because we have all this nice dark color down here. We'll take a little bit
of our brown and white. Barely touch, barely touch. (cascading sound) Just here and there. See, let that just ... There we go, barely grazing the canvas. Barely, barely grazing the canvas. Now then, let's go into
a little bit of the Cad Yellow, Indian Yellow, Yellow Ochre. Here and there, the least
little touch of Bright Red. Load up an old two-inch
brush and begin thinking about little grassy things
that live all up in here. (brush tapping canvas) See 'em? There they are, just all
kinds of little doers. Maybe, I think, let's have a little path that lives right in there. And you can do that just by going back and forth with a fan brush. Little place where you can step out here and see what's going on. (brush tapping palette) Right up in here, just some more little bushes that live here. We're gonna have some of them that come right over the edge. Just sort of fall. Little Sap Green added
to that, once in a while. See 'em? All these little things in here. You can put as many or as few as you want. There they come, just like so. Wherever. We have a huge ledge up there now. Shoot, I tell ya what, you know me. I got a minute or two left
here, so let's get crazy. I'm gonna take some of the Liquid White. And go right through Titanium White, just to thin it down a little bit. In fact, tell you what, I'm
gonna dip into the Liquid Clear. That'll make it shine when it's dry. Take a little Liquid Clear. Maybe in our world, water comes ... Right over like that, see it? But it's important to
get that angle right. Add the least little touch
of Phthalo Blue in there. Maybe the water changes
direction and goes ... (makes splashing sound) Look at that, gotta make
those little noises. Just falls right over. That easy, that easy. Little bit of the Van Dyke Brown. We have to have something here to hold this one in, so
we'll use a little brown and we'll put a little happy stone that lives right there. There we go. Okay, a little bit of our highlight color. Just let it touch and bounce. (makes bouncing sound) There we are. Just to sorta form the stones and give the indication that there's some nice stones living down there. With our clean brush that's very dry, gently, gently graze it, just graze it. Maybe there's a happy little
bush that lives right there. That easy though, you can drop it in. We'll take our fan brush. Got the Liquid Clear on
it and the Titanium White. Same as the one-inch brush had. We'll put a little splash right there. Waterfall hits right there,
just sorta plays around. (makes waterfall sounds) All kinds of little
splashers happen out here. There. See that? There they go. Just, boom, wherever you think they would fall and splash and hit. Let's take a little touch
of the Liquid White. I'm gonna put a little touch
of the Dark Sienna in to that. With a liner brush, I
wanna show you a neat way of making some trees while we have time. Little paint thinner,
little Van Dyke Brown. Load the brush full of brown first. Both sides. Then we'll take and pull one side right through a little bit
of that highlight color. Maybe in our world,
there's an old dead tree that lives right there. And give him another one
that lives right there. Maybe a little baby one too,
we don't want him left out. We'll have just a couple of old
branches hanging off of him. Here and there. (paint thinner splashing) Shoot, I think with that, we
about have a finished painting. Think we'll call that one done. It's quite a challenge,
let me hear from you if you do this one. Until then, happy painting
and God bless, my friend.
