- Hi, welcome back. Certainly glad you could join us today, because this is the last
show of the 19th series, so I'm glad you're with us
for this fantastic show. I thought today we'd just
do a beautiful little mountain scene and sort of see what happens, and just enjoy ourselves. Let's start out and have 'em run all the colors across the screen that you need to paint along with us. And while they're doing that, let me show you what I've already done. Got my ol' canvas up here on the easel. I've covered the entire thing with a thin, even coat of liquid white, so it's all wet and slick and it's
ready to go, so let's go. Thought I'd start off with a one inch brush today, what the heck? We'll take a little bit of phthalo blue, Don't need a lot of
color, just a little bit. And let's go right up in here, let's just dance in some little things that'll turn out to be some nice clouds. Now, today, all that I'm interested in is the white area, not the blue. That's gonna be our cloud; there we are. Think in one of the earlier shows we made a cloud like this,
just to show you a new way. There, or a different way, I don't know that it's new, but it's different. There we are, here's maybe
another one right there. Right about now, wherever, wherever. Tint, little more of the
color, let's go right in here. There's another happy little
cloud, he lives right there. And clouds are very free, they just sort of float
around, havin' a good time all day, so that's the
way we're gonna paint 'em. There, let's use another one inch brush. I have several of them going. I wanna blend this blue back, just blend it back; I'm not
touching this white edge yet. Just sort of take this brush
and blend it back a little bit. It'll mix with the liquid
white, and automatically it'll get softer and softer,
lighter and lighter, the more that you blend it, and that's
what we're looking for. Little bit in here, just sort of wind it up, blend it, let it play. And you can blend this to any degree of softness that you want, so just sort of look at it, and make
a decision, make a decision. Or you can leave it quite
dark, it's up to you. There we are, mm-kay, well there, we'll wash that old brush,
hm, that's the fun part. Little brush is not as
great as a big brush. Let's take some titanium white, titanium white, be right back here, I'm gonna a little
touch of the bright red. Tiniest little touch, though; I just wanna put a little pinkish glow in there. Alright, got some color loaded on here. Let's go right up in here, and we'll just take, now, we'll begin putting in the nice white edges to this
cloud, just drop 'em in. Just sorta let that brush dance around, just the corner of it, there. This is a beautiful way of
making very fluffy clouds. Very fluffy, with some
nice shadows in 'em. Here we go, little bit here, just sorta let your imagination go, there. And maybe right over, like that, little bit up in here, wherever. Mm-kay, now we use that ol' big brush. I just wanna blend these
two areas together now. Create very soft, big, fluffy clouds. Just using the corner of the brush, and I use the big brush
because it seems to have more hair in it, it
does have more hair in it. So we just, it blends a
little nicer, like that, now then, lift it, fluff it
a little, and very lightly. Very lightly, just go right
over it, it's a fantastic way of making beautiful,
beautiful, big fluffy clouds. 'Kay, now then, let's go down and do that little bottom one down here. There he is; just sorta work in layers. There, I usually try to do the cloud that's farthest away first, and then work forward, forward, forward. Little bit in here, and
just let it blend down, maybe just a little blue down in here. We'll just add a little in
so it can blend together. There we are, and back to our large brush. And, very gently, blend all this together. There, fluff it a little bit also. Alright, and we have one
dynamite sky, that easy. It's an excellent way,
excellent way of making skies when you're doing
seascapes for example, you want huge, big,
fluffy clouds that just sort of hang out over the ocean. We'll take some black, little
Prussian blue, what the heck. Maybe some Alizarin crimson,
just mix 'em together. Little Van Dyke brown, too. So we have black, Prussian blue, Van Dyke brown, little crimson, cut
off our little roll of paint. Right out on the edge of
the knife, there it is. Now, maybe back in
here, very little paint. And push very hard, maybe there's a little mountain that lives far away, far away. Really push that color
right into the fabric. Put very, very little
color, and we'll take the large brush wanna grab that
and pull it, and blend it. I want it to just float
around in the sky up here. 'Cause it's too far away to
have a lot of detail in it. There, now you can leave it just like that and it would do satisfactory, or, maybe, take a little titanium white on the knife, and you could just put in an indication of a little bit of highlight,
I don't wanna overdo. Don't wanna overdo; we're gonna put another mountain in front, but you could put a little highlight
in there if you wanted to. Just wanna show you how you could, if that was what you wanted to do. There we go, take our two
inch brush, and, once again, I'm gonna tap that and
just blend it a little. But see, that gives the indication of a little highlight without
actually doing much, there we go. Now, let's have a huge
mountain that lives here. Mountains are a lot of
fun to do, and it's one of the most fantastic things
you can do in this technique. Our little roll of paint,
come right up in here. And let's go right up in here, zoom. And let's start, and just
drop in, big mountain. Big ol' mountain, he lives
right there, right there. And off we go, but here, maybe
there's a little bump there. But you're really pushing that
paint right into the fabric. Get tough with it, get tough with it. And you just sorta look at your mountain and decide where you think a little, there should be a little protrusion or a bump, or hill, or whatever. It's that easy, just drop it in. There we are, scrape it firmly, though. You wanna get all the excess
paint off here that you can. That allows the next layer of
paint to stick much easier. Otherwise, it's sort of difficult, if you have a lot of paint on it to get the next layer of paint to stick on top of it. There we go, this just does two things when we do this with a two inch brush. It removes excess paint, and then blends the bottom right into nothing. And if you can see the entire mountain, it should be more distinct at the top than it is at the bottom, 'cause we have mist at the bottom, and now we have wonderful pollution at the bottom there. And all these things break up and diffuse light, and it causes it to
look misty toward the base. There, alright, see how that just sort of floats right into nothing? That's what we're looking for. 'Kay, while we have this ol' brush going maybe we'll have a little water down here. You know me, if you've painted with me before, you know I'm a fanatic of water, love water,
think it's so beautiful. I'll take a little phthalo
blue, little, small amount of the phthalo green in it, just sort of mix them together. Don't want a lot of color, maybe I'll even put a little black in
there, too, what the heck. Oo, that's nice; just go up here. We're gonna have a little water. We'll have it right about here. Somewhere in here, anywhere we don't like it, we'll just paint over it, because we don't make mistakes. We have happy accidents, that's all. You learn very quickly to work with anything that happens,
anything that happens. When we're teaching our instructors, a lotta times we'll intentionally make mistakes and make them fix 'em. That's one of the things that our instructors are all able to do very well. They can correct anything
that happens on your canvas, and that way when people taking classes, they never have to worry about their painting going bad or anything, 'cause we can fix anything, and then they teach the students
also how to correct theirs. Alright, let's wash the ol' brush. Let's wash the brush. And just beat the devil
out of it, off we go. Alright, let's go in here and take some titanium white, pull it out
as flat as we can get it. Really, can flat, go across,
cut off a little roll of paint. So right on the edge of the knife. 'Kay, now then, that little roll of paint can come right up here, and
just barely touch, no pressure. Just a whisper, just a
whisper floating through here. And let that paint just
go with the angles, no pressure, no pressure,
gentle, gentle, gentle. That easy, see there, that easy. You know, sometimes I get letters saying, "What is it you're looking at off-camera?" They see me look off-camera
- I have a television set, a monitor, that sets right
off, that you can't see, but I look into that to make sure that the camera's getting the picture that I think people need, so they, too, can paint, that way I can show exactly how to load a brush, or when the little roll of paint, for example, is on the knife correct, so I watch that monitor at all times to make sure that you see the
things that are important to make your painting successful. So that's all I'm looking at, plus there's a mean ol' guy over there that gives time cues and tells me all the time I'm out of time, but other than that, that's
all we're looking at. There, there is absolutely no editing or no video magic done on these shows. That's another question I
hear over and over again. People say, "You must edit those shows." There is no editing, because to me that wouldn't be honest; if we
edit anything we'll tell ya. And I realize there are some shows where editing is done
and they don't tell you, but please don't confuse them with ours. We do not edit anything. There, little bit right in here. But notice the angles - angles are the most important thing going here. So, keep your angles, look at how most of those angles are going in
the same basic direction. That's what makes your
mountains work for you. Angles are so important; mountains are nothing more than geometric
shapes, and that's all they are. And think about where the
light would zing through and hit, and play, and that's
all you have to remember. And most of your highlights
will be in the same angle and most of your shadows will
be in the same basic angle. You can vary a little, but
if you vary a great deal, it's not gonna look right; people are gonna look at your mountain and say, "I don't know what's wrong, but something's wrong with that mountain." Okay, I mixed up a little touch of phthalo blue, little
black in it, and some white. And, same way, I'm just loading the knife, same way, and we'll put in
some little shadow colors here. And we'll have most of
these angles, strokes, going in opposite or opposing direction. See there, that's all there is to it. And that rascal will just come alive. It'll just come alive for you. Anywhere you want a little protrusion, you just put a shadow under it, see? And automatically, blink,
it'll just jump right up there. Let's go up to the top
of this mountain here. Begin up in here, put in
all kind of little things. See how you can create all
those little protrusions? It's that easy, can do. But you can do anything,
I know you can, anything. There we are, few little
doers here and there. And when you practice a little you can sneakin' in here with the
small edge of the knife and just make all kinds
of little tiny things and crevasses and places
and little mountain goat lives and all those,
whew, you know it's mountains, my son Steve teaches, and mountains must be his thing. Well he can do the best mountains, his mountains are better than mine but don't tell him I said that. That son of a gun can
paint some mountains. And he travels all over the country, teaches literally thousands
of people to enjoy painting. There we are, we're just gonna blend that a little bit, not much
today, not much because we're gonna put some little grassy areas, maybe going right up the side of it. Alright, let's just take,
I'll use that same ol' brush, put a little cad yellow,
little touch of the sap green, not much, just a little,
little yellow ochre, Indian yellow, some of the dark color we made the mountain out of, but mix this on the brush, so you have a multitude of things happening on the brush. Let's go up here; now then, we can begin tapping in all
kinds of little grassy areas that travel right up
the side of this mountain. There, 'kay, but pay
attention to the angles. Angles are most, most important. If these angles are
wrong, oh they'll show. And you won't be happy with what you've done, and I want
this to work for you. It's important to me
that this works for you, and that you're happy
with what you're doing. There, with just little
colors here and there. We'll come back in a minute and lift this, make it look like little distant trees that live way back at the
base of this mountain. There, little dark color here and there, and that dark color will
look more like trees than the other does when we lift it up. But don't get too much of it, just sorta play back and forth
between the various colors. But follow those angles,
follow the angles. Alright, there it goes. Maybe, right over like
that, something like that. More of the little dark
areas here and there, yeah, well just grab a one-inch brush. Whatever, lift this up, short little strokes, just like that, just lift it up, just lift it up, that'll
just bring it all together. See those little dark areas on there? They just pop right in there, look like little trees that are, they live way over at the base of this mountain, far away, far away, Hundreds and hundreds of little trees, there, isn't that something? Mm, and you can just create whole valleys under your mountain, like that. Whole valleys on, and you can go back and put little rocks
and stuff layin' there. There's just no end to it; I don't wanna get carried away here, I'll never get this painting finished. But you could spend all day just working on little things like this. And that's the way you
learn, there we are. Now, then, we have to
make some big decisions. What's down here? Let's have some trees... I like trees. Let's take some black, some Prussian blue, and put some phthalo green in there, too. I like a phthalo green... maybe a little brown and crimson, doesn't matter, as long as it's good and dark. Might as well mix up a pile;
let me clean the knife. There we are, grab the ol',
we'll use the fan brush. Load a lotta color into the
bristles, full of color. Both sides, full... a lot of color. And maybe we have some little distant trees that live back here. Just take the brush and tap downward. Just tap it downward... Now one of the things that happens a lot of times, I get letters from people and they say theirs looks like a fence . Now if you leave them too far apart, see, it will look like a fence. All you gotta do is fill 'em up. Just, fill 'em up... And this is one of those cases where you need a lot of 'em to make it look right. There, 'kay, maybe we'll go a bit cross with 'em, doesn't matter. It's your world, so you can do anything you wanna do here, any ol' thing. Any ol' thing... But isn't that a nice, easy way of making an indication
of a lotta little trees that live way back at the
base of this mountain? Now, then, if you wanna make, like, some little tree trunks, you can take a little light color we would use some white, it doesn't matter. Touch and just lift upward... Just gently lift upward with a little
bit of white paint. It'll give the indication of some little tree trunks in some of those, and it also makes a little
misty area at the base. And in a minute you'll see why that really works nice, because I think I'll put some, I think I'll just pop in, I got a fan brush full of color here, we'll just use it, we'll just pop in some dark color here... You with any ol' thing, doesn't matter. While I have this brush
going, I'll just use it. There, maybe something like it. There... Mmkay, we need some, let's put some highlights in
there, let's have some fun. Now I'll take... grab it right back, a little sap green, little cad yellow, be right back, I need a little more green. Oh, there, there... We'll tap that right into that color, tap it firmly. A little yellow ochre too,
that's pretty, Indian yellow. Here and there, I'll hit
the bright red occasionally. Just to dull it down...
Yeah, just gently tap. Wanna put the indication of
a little meadow back here. A little place where
there's some grassy areas. I know, I know, I know just had an idea, Watch it, watch it, let
me quick do something. Sometimes my mind gets ahead of my brush. There we go... tell you what I see. Right there, gonna just grab some Van Dyke brown and I, right there I'm gonna put some dark underneath. Lets do this... When you paint like this, you find things, you just sorta look at 'em, and they happen; you can just find all kinds of happy little things in here. There... Now maybe, we'll put a little liquid white, little titanium white, least little tough of phthalo blue in it. Maybe right here; maybe in our world there lives, (whistles), yep, just a happy little waterfall back here. (hums) It just drops right off there. Now if you wanna push that waterfall back, let's take some white, little dark sienna, little Van Dyke brown, all mixed together. I'll use a small knife... And, let's just come up in here, we can making this look like maybe there's
a little cliff there. Oh, I had another, now, we gonna push that waterfall back, put a rock in front of it, see, just put a rock in front of it like that; that pushes it back, put a little color on it. You play little games like
that when you're doing these. Just sorta let these colors bounce back and forth, and here and there. Now... let's see here,
find us a fan brush. Got too many dirty brushes; put a little yellow, put a little green on. Now, this rock that we have here in front of the waterfall, it needs some grass on top of
it, so it looks normal. There... little bit on the other side while we got it goin'... Shoot, that's comin' along pretty good. Let's take a little of that dark color, and you come right down here... See, you can just make all
kinds of little things. We need some reflections
under these things. We'll pull a reflection under that , let's go up here, grab ahold of that. Just pull it straight down, and that'll create the illusion of a reflection. Go across... Instantly, we have it. Now, back to our brush
that has the green on it. See, just follow that
angle, follow that angle. Creates the illusion
of all kinds of little grassy areas that grow
right down like that. Now, let's have some fun, maybe there's a bigger evergreen, and he lives right there, there he is. There he is; he just lives up here and watches that little waterfall, maybe he's got a friend that
lives right here beside him. There, two little evergreens,
maybe on the other side. Let's go on the other side, let's have a monster evergreen; this
is Daddy Evergreen here. There he goes... fantastic...
these ol' evergreens just live in your fan
brush, just shake 'em out. And, as this program draws to a close, here in a few minutes,
I hate to leave you. But I hope you've enjoyed
this series; I certainly have. It's been a great deal of
fun to be with you again. And if you like it, and if you wanna see more of 'em, give your station a call and let 'em know that you're
interested in the show. That's the only way they know that you wanna see more of 'em, so don't be bashful, give 'em a call, they'd like to hear from you, anyway; let's put a little splash down at the
bottom of this waterfall. Little bit of water
floatin' around down here. Just sorta cleans up all those edges, brings it all together... There. And in the future, if there's things that you would like to see us do on this show that we're
not doing, drop me a line. I'd love to hear from you anyway, so, drop us a line, let us know
what you would like to hear. Or see; and we'll see if we can do 'em. If I can't do 'em, shoot, I'll go out and find somebody who can
and bring 'em in here. There we are... Little grassy areas. I'll take a little dark sienna, and white, let's put the indication and
there, just little tree trunk. Don't want a great deal, just a little, we'll take a little green ,
little blue, little yellow, just go right in here, put a few highlights on these evergreen, off we go. 'Kay... Over here, I don't
wanna kill all this dark. That dark is so beautiful;
you kill it all, then, you just have a flat ol' tree. Mmkay, let's grab a one-inch brush. Im gonna dip it in some liquid white. Go through some yellow,
little bit of sap green, maybe I'll even grab a little black here, we'll make a dark green,
whoo, that's nice. Pull that brush in one direction,
little, lotta color in. In our world, maybe there's a little bush that lives right
here under this big tree. There he is... little yellow
ochre, little Indian yellow, here and there, oh, that's a nice one. Nice little bush... There we are. Maybe right here is another one. And work in layers, doing one at a time. And as we finish this one up, once again, I'd like to thank you for
allowing this into your home. You're very special to me; I hope you enjoy watching the show as half as much as we enjoy
producing 'em for you. And once again, if there's
things you'd like to see or comments, drop us a line, I'd really love to hear from
you, and we will answer you. Think we'll put a few
little twigs here and there. Stick in those bushes, we
might have a finished painting. So, with that, I'll tell
you goodbye for this series. I look forward to seeing you again, and from all of us here at WIPB, happy painting, and God bless, my friend. (relaxing acoustic melody)
