- Hi, welcome back. Certainly glad you could join us. It's a fantastic day here and I hope it is where ever you are. So I tell ya what, let's start out today and have them 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. Today, I have a black canvas
as you plainly can see. And we make the canvas
black by covering it with a nice coat of black gesso. Now the black gesso is
applied with just a foam brush or something and it's
allowed to dry completely. On top of the black gesso, I've added a coat of alizarin crimson and phthalo blue mixed with liquid clear. In other words, we've made
a very thin lavender color and we've covered the
entire canvas with it. And it's all wet and slick
and it's ready to go. So let's go. I thought today I'd just show ya a fantastic little painting
that's very easy to do that's a lot of fun. And we'll just use a two
inch brush a great deal and, uh, let's just see what happens here. Let's start out with
the ole two inch brush and I'm just gonna tap the corner, just the corner, into just small, small
amount of titanium white. You don't need much. Don't need much. Now we already have this
lavender color up here. So watch what happens. Now we'll just begin tapping. Just tap, that's all you have to do. Is just begin tapping. Very, very easy. It's picking up the
color that's underneath, in other words that lavender color. There. And as you tap, you begin to
form all kinds of little shapes turn the brush. There. All right. This is one of the neatest, simplest ways of making a sky that's so fantastic. The black canvases are just unreal. They will do things that, phew, ooh, they make your heartbeat faster. They are gorgeous. And color stands out so much, so much brighter on there. I'm gonna add the least
little touch of dark sienna to my brush. So here and there, I'm gonna put in a few little light brown spots in it. Right in there, just
wherever you want 'em. Vary some colors back and forth here. Something maybe 'bout like so. (brush tapping palette) Maybe the least little touch
of phthalo blue here and there. All we're doing though, is just tapping with the top corner of
the ole two inch brush. Just the top corner, it's all we need. There, vary the colors. Vary the colors so we have
a lot of things happening. And the more that you tap,
the darker it'll become because it's picking up the
color that's underneath. And what's so much fun if you're ever doing a canvas like this in front of friends or relatives or doing any kind of
demonstration for someone, don't tell 'em that you've
put anything on the canvas. Just let 'em see you start
with a coal black canvas and all of the sudden you begin tapping and all of these gorgeous
colors will appear. And you can do this with
any transparent color, or semi-transparent color. In other words, color that
may not be totally transparent but it's transparent enough
for what we're doing. There. And a good way to test it is
pick a little on your finger and put it right on the black canvas. If it still looks black,
then it's transparent enough for what we're doing. All right. There, just keep tapping though. There we go. Something about like so. (brush tapping palette) All right. And you can make it as
bright as you want it or as dull as you want it. Now I like paintings that
are quite subdued, very dark. They almost look like
traditional paintings sometime when you do 'em that way. But it's up to you. Some people like paintings
that are very bright and shiny. They make you feel good. So painting is a very individual thing. There. Now, I have several brushes going. Let me get another one that's
nice and clean and dry. And very lightly, making
tiny, tiny little "x" strokes. I'm just gonna begin blending this. Very gently. Barely touching the canvas. Just caressing it a little bit. Now you can blend this
to any degree of softness that you want it to be. Or you can leave it quite
bright, quite sparkly there. It's up to you. Up to you. All right. Kay, now many in our world, Tell you what, let me
go back to that brush. I wanna pick up a little touch
of the phthalo blue again. And I'm add a little white to it. So we have phthalo blue
and white basically. And I'm just still tapping
that little corner. And I'm gonna turn the brush sidewards. And just maybe tap in the shape. Maybe there's a little
cloud lives right there. Or a little cloud shape,
somethin' like that. Really I just want a little
bluish color in here, just sort of change the flavor of the sky. Make it a little more interesting. Put a little cool color
right in the middle of these gorgeous warmer colors. And back to our brush that's clean. And once again, very lightly, just barely, barely touch the canvas. And then we go over the entire sky area. Something like that. And that's a very nice little
way of making a little sky that's just different
and it's quite pretty. Maybe we'll put a little
brighter spot right down in here. Now you can work on this
for as long as you want. You won't believe what you
can do if you'll just try it. You will not believe the effects
that you can come up with. You can make some of
the most gorgeous things that you've ever seen. Work in layers. Just keep building and
building and building. And you can go back over and over and over 'til you get it exactly
the way that you want it. And everybody will see it differently so do it the way that you like it not necessarily the way that I do it. Because you'll do it much
better when you do it. There. Okay. Now maybe in our world,
maybe, maybe, maybe shoot, let's get crazy. We'll use a little sap green, little van dyke brown, some black a little black. Maybe just a little bit
of the prussian blue. I'm looking for a nice
dark greenish color here. Something about like so. We're still just gonna tap
the top corner in here. Now then, maybe there's
some happy little bushes that live back here. Using just the top corner
of the ole two inch brush, all we're doing is tapping in
some very basic little shapes. Very basic, they're quite dark. Way back there. (brush tapping palette)
There. Add a little bit more color. Come right in here. I wanna add a little
dark sienna to that too. Oh yeah, that's nice. That changes the flavor just enough that it stands out there. Just enough. It's very dark, I hope you can see it. There. Sometimes it's fun to
begin playing in here. So watch. As I say, I have several,
several brushing going so I don't have to spend
all my time washing brush. I'm gonna take some white, least little touch of the yellow ochre. Once again, I'm just
gonna tap that corner. Just wanna use that corner. Kay. And maybe a little light
is zinging through here. And it's just striking the
tops of some little bushes that live right in here. Just by using that corner,
we can create that illusion. Something like 'at. Wherever you think they should live. Now you could do this with
either one of the round brushes or the one inch brush, whatever. There's really no limit to it. Just about any ole brush would work. It's basically the shapes
you're most interested in. (brush tapping palette) A little bit more of the
yellow ochre and white. But it really stands out
against that other color there. And back to my brush that
had the darker colors. I like to make big trees
with these two inch brushes. They're a lot of fun. And so often we avoid it,
the ole two inch brush because it's so big. But it'll do fantastic things
if you just give it a chance. Watch here. Maybe there's a big tree
that, okay, right here. There it is. Right up here. Lives. Does now, a big tree that sort a hangs over here and he watches everything. The little squirrels
live and play up in here and they have a good time. All you're looking for
here are basic shapes. Very basic little shapes. There. Now the black is back there so you don't have to put a lot of color. It takes very little color. Same colors once again. Tell ya what, maybe there's
another one over here. Just sort a let your imagination go. Because when you're lookin' deep into the forest or the woods like this trees just sort a grow
however make 'em happy. They have a good time. They have a good time. There. Maybe we'll come right
down in front like 'at. (brush tapping palette) All right, just vary
colors back and forth. I added the least little
touch of yellow ochre to the same color. Just enough, there, just
enough to sort a flavor it and make it stand out a little bit. This will be a very dark,
subdued type painting. Now then, but look at all the different
layers that you've created in just using basically nothing other than the ole two inch brush. Well, let's make a little brown. For that I'm gonna use some
sap green and alizarin crimson, about equal parts. So we'll just mix that up real good. This is one of the few colors
that we really mix well. Normally we don't over mix
paint, but these we need 'em well mixed to make a nice brown. I'm gonna reach over and
get a little bit of white and put in there right in the edge. Kay, let me clean off my knife. Just wipe the ole knife
with some paper towels. And get a little roll of paint and come right up in here and very lightly just pushing that color
right into the canvas. Maybe there's just a little
touch, a little hint, of land back in here that you can see. Not much, just a little. Let it go, see there. Something maybe about like 'at. I don't want a whole bunch. Now then. I'm gonna use the one inch brush now 'cause I'm gonna do
somethin' a little smaller. Take some of the same brown color I made, a little bit of black. There, kay. I'm gonna tap using the top edge and just tap in indication of another layer of bushes. Each layer, once again,
will create more depth in your painting. Now, look right here, see what happens? You can see behind that. And each one of these layers, once again, I know you get tired of hearing that, but it creates that illusion
of depth and distance in your painting. And I bet you've seen
paintings that look very flat and they sort of disturb you. There we go. Somethin' about like 'at. Once again, that creates
another layer in there. And you can put several in there. Shoot, if you wanted ta, see you could be another little layer just by adding the
indication of a little soil that you can see, a little dirt. Right in there. Right in there. 'Bout like 'at. We go back to our little one inch brush with a dark color on it. And you can push that
back and make it recessed. Each on of those though, is another layer. More depth. We can just tap the top
corner of that brush right into a little
bit of the yellow ochre and I'm gonna touch the least
little bit of bright red every once and a while. There. See, and just tap on the indication. Just a few little things. Let's get a little sap green,
a little bit of yellow ochre, mix 'em together and I'm just
mixin' these on the brush. Oh, that's nice, nice color. We still haven't cleaned the brush. Same ole dirty brush. We're just adding color and
allowing it to blend together. Just the top corner though. Like 'at. There. Maybe, while we have
that ole brush workin', maybe up in here, we'll put a few little
highlights right in there. Something about like 'at. Load a little more color. There. (brush tapping palette) See, there's no end to this. You can make as many different
things as you can imagine. You're only limited on
this piece of canvas by your imagine. Course, I believe that's the
only limitations in life also is just your imagination. Because anything that you
can conceive in your mind and you believe, I think you can do it. I went back to the big brush. Shoot, that one's too slow. Let's take a little bit of yellow ochre, get a little sap green,
I'll be right back. There. Just sort a mix those together on a brush, And I'm gonna tap the brush to load a little bit of paint right out on the end of the bristles. Let's go back up in here now. This ole tree here. I'm usin' the brush sidewards, just the corner. Look at that, see. You can just make all
kinds of little highlights on those rascals. There. Wherever you want 'em. Think about form and shape. Don't just throw these on there random. There, think about the
ole tree and how it looks. What makes it stand out. Spend some time out in your yard or just go out and make
friends with a tree. Shoot, idn't nothin'
wrong, if you're an artist, you're allowed to do
weird and crazy things. Sometime, just go out and spend
some time talking to a tree. Course your neighbors are gonna
look at ya a little strange, but, they'll say, "yeah, yeah, "he's a painter, so, you
know, a little weird, "it's expected." (chuckle) Now you really don't have
to go talk to a tree, but, what I'm saying is spend
some time studying trees. Just study 'em, make friends
with them in that manner. Kay, let's get crazy. I'm gonna take some black, prussian blue, same dull dark colors, all of 'em, dark sienna,
van dyke, crimson, it dudn't matter as long
as it's good and dark. Maybe, maybe there's an ole rickety tree that lives out here. An ole, some kind of ole evergreen tree. He lives right here in front of this one. I want this old tree to
look like it's had, like me, he's had a rough ole life. There. His arms just sort of
hang out every which way. Really want him to look old and tired. There, he's really had it rough out here. Maybe when he was little, maybe a big elk through here
or somethin' and stepped on 'em and sort a hurt him a little bit and he's never been right since. There. See just make up little
stories, and you know, people look at ya like
you're a little strange but once again, if you're an artist, people sort a expect
that so it's all right. And we know, because artists
have more fun than anybody. A few little indications
of some sticks in there. We take a little sap green, little yellow, little bit on the two inch brush. Kay, go back up in here. And just very lightly
tap in a few highlights on that old tree. There. (brush tapping palette) Kay, little more paint on the brush. There we go. (brush tapping palette) See, it's unbelievable what you can do. Basically we've used nothing on this but the one and two inch
brush and the knife. You can do some of the
most gorgeous paintings if you'll just practice. With very little equipment. All right. Shoot, in my mind, I think we oughta have another little tree that lives right here. We need to fill this corner up. That's the reason I think
there would be a tree here. So wherever you want 'em. When you do you're painting like this, this corner may have
more in it or less in it, it doesn't matter. It really dudn't matter. It's up to you. We'll just put some of 'at
color right down in here. I want the water to reflect these colors. So even though you can't see that, there's a little of 'at
color down in there. (brush tapping palette) There we go, maybe, a nice
tree lives right here. We are really layering a lot of trees. There we are. And back in here. Okay. And let's have some fun
with the ole liner brush. I'm gonna take paint thinner, little bit of white with
some dark sienna in it to make a light brown color. But I've mixed paint thinner
with it so it's thin, almost like ink. Very thin. Let's go up in here. Now here and there, and there and here, we'll just add few little sticks and twigs and all kinds of little things, wherever you think they should be. There's always little things
that grow out from behind here. There's one. Just sorta decide where they are. There. The liner brush, though, if you have any trouble
making this paint stick, chances are you just need to
add more paint thinner to it. Don't be afraid to add quite
a bit of paint thinner. There we are. Or you can even put
the liquid clear in it. I just use paint thinner
'cause it's convenient, but whatever. Okay, I'll go back to the ole brush that's got the green on it. And let's put a few
highlights on this tree that we put right here in the foreground. Just a few, using the corner of the brush. It's all we're using. There. Darker, darker, down toward the base here because there's gonna be some
big shadow areas in here. (brush tapping palette) Little bit more of the yellow ochre, little bright red here and there. Maybe, yep, you're right. There's another one right in there. Just make up your mind where
you think they should live and drop 'em in. There we go. And everybody's painting
will be different. And that really is the beauty of it. That's the beauty of it. If everybody's was the
same, it would be very dull. There. That's one of the reasons I really don't like to trace paintings onto a canvas before I start. It puts boundaries on you. Boundaries on your creative ability. Let's go on the other side. Maybe over in here. Use those same colors. Maybe this little tree here. We'll put some nice
little things on it too. (brush tapping palette) There we are. All right. Work in layers. Work in layers. Do one layer at a time. Trees are nothing but big clumps of bushes that got together and grew tall. So, each limb, maybe you can look at it just as a bush and then put 'em together. I'll make your tree have shape
and form and be interesting. There we go. See how you can just vary
those colors back a little bit here and there and there and here. Just enough to change
the flavor a little bit. All right, back to my
little script liner brush. Maybe in our world, who knows, who knows right here, maybe there's
just an old tree truck that sticking right out. Put some wigglidy limbs on it. Just some old wigglidy limbs on it wherever you think they should be. That's fun part though, is
adding these little details. These are the things that
make your painting special. Course not of us are interested
in the ole happy buck, but if you are, and you're
out selling your paintings these little things are what
will make your painting sell while somebody else's
painting just lays there. We can put a few little things
here and there on this side. Don't want 'em all on just one side. Maybe up in here. (brush rinsing) Tell ya what sometimes, it's fun, I'll take a little of
that brown color we made with the crimson and the sap green. Maybe "swoo" maybe there's
a big tree, "droom", lives right there. Got a make those old noises. And he's got a friend named Charlie. Charlie lives right here. There he is. There, and this ole trees, maybe these trees died in
the last storm or somethin'. Just, they're old stalks out here. Put a few little limbs on it, but basically, there's
not much goin' on here. Just a few ole limbs, gnarly things. Something about like 'at. Now then, let's take a
little titanium white on the two inch brush and watch here. Watch here. Pull straight down. Straight down. Now we put that tree
color on the water here so we'll get all these
beautiful tones and hues automatically, just like 'at. Straight down though. And then very lightly, go across. Just gives it a watery
appearance, that easy. That easy. This black gesso is one
of the neatest things that we've ever invented. Absolutely is fantastic. Now then, let's take a little
bit of our brown we made, put some white with it. Pull it out very flat,
little roll of paint. And let's go up in here and just begin laying in the indication of some little land masses
that live back in here. And I'm just pushing
quite hard with a knife. (adding paint) Just like so. There we go. See there. Just wherever. Wherever. Emkay. Now then, maybe, find our old brush, oh there it is. When you get my age,
sometime the mind goes. Maybe there's a little bush
that lives right out here. We'll put a little island out here. So we need some dark here. Maybe it comes all the way over. Maybe it's a peninsula, we don't know. Just sorta, you decide. All right, need a little color on it. Use a little that yellow ochre. Em, there we go. See let all 'em little rascals
hang off there and play. There's just so many little
things going on in there. Bet you never believed
you could do all that with a great big ole two
inch brush, but you can. You really can. Now then, underneath that, indication maybe of a little reflection. Come across. And, take a little bit of that same color we used for the land and just
sorta work it around here. See there. There we go. Somethin' about like 'at. Just enough to give the indication of little things that are happening. Back to our little liner
brush and some light color. And here and there and there and here we can put the indication of
some little sticks and twigs that live out here. Like that. Wherever you want 'em. Few little things on the
other side over here. There we go. Kay, don't want this one left out. Some things are growin'
out here right on the edge. (brush rinsing) Okay, let's go back to
our little one inch brush. I'm gonna put a little liquid white on 'em because, as you know, one
of our golden rules is a thin paint will stick to a thick paint. And we have several layers
now of paint up here. So right along the edge here, we'll just put a few little
bushes that live there. Somethin' about like 'at. Just mostly stand out. And sometimes if fun to Tell ya what let's do,
got a second let here, we'll just do somethin' like 'is. Now then, little bit
of the van dyke brown, little dark sienna mixed together. Maybe there's what remains of
an ole tree layin' right here. Put in the basic shape. (knife scraping palette) Little light color highlight it. You can just use the ole knife, put in a limb here and there on it. Little touch of the
(knife scraping palette) liquid white and you can come right
around his edge here. Just make 'em look like he's sittin' right down in the water. Hope you try this one. You'll be amazed at what you
can do using the black gesso. It's one of the neatest
things you've ever seen. From all of us, I'd like
to wish you happy painting and God bless my friend. (uplifting music)
