- Hi, welcome back. Once again, I'm certainly
glad you could join us. And today, I thought we'd
do the little painting that you see at the opening
where the little character throws the brush and everything. So I tell you what, let's start out and 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. Have our standard old
pre-stretched canvas. And I've taken a little black gesso and just taken a little sponge and just sorta tapped in
some basic little shapes. That's really all you have to do is just take a sponge and
sorta tap here and there. I've let that dry totally, then I've covered all the black area here with liquid clear, and on top of that, just a little bit of sap green mixed with a little van dyke brown. The browns are just to dull
the green down a little. The top is the liquid white, as usual. And with that, we're gonna
do that little painting. So let's start out today, take
a little bit of phthalo blue, just a very small amount
on the old two-inch brush. And I'll reach up here, be right back, and get a little bit of black. So we have blue and
black, or black and blue. Whatever your preference. There, let's go up in here. And we'll just put in just
a little sky back in here. This is just phthalo
blue and midnight black. There we go. And you determine if you want it to be more to the dark side or the blue side. It's up to you, up to you. There, and we'll just
sorta let it just come right over these, we don't care. But both of these colors
are very transparent, so the black gesso will
still show through, which is exactly what we want it to do in this particular painting. Little more black, a little more blue. There we are. And we'll just put that in
using little crisscross strokes or little x's, whatever you
wanna call 'em, whatever. There, okay. As I mentioned earlier,
that's the way the teacher used to grade my paper
when I was in school, she'd just go through it and go x, x, x, x, x, x. That's how I learned to do this. There, all right. (brush swishing) Okay, and that's basically all we need for a little background sky. Now then, we had some little
trees in the background, and that's what this is for. So let's make those out of a, let's use a little black,
little phthalo blue, and I'll get a little touch
of the alizarin crimson. We'll just sorta mix 'em together. Let me get a little more crimson. So it's sort of a lavender
color to the blue side. All right, tap a little color on there. And up in here, let's just go with the corner of the brush and put in some very basic little shapes and some little tree things
that live back in here. And all we're looking for
is very basic little shapes. We're not looking for
detail at this point. The detail, that'll come later. Right now, just little
things that live back here in the shadows, there. Okay, there's some more. And if you don't hit
everything, it doesn't matter because all the black gesso
that you put on is back there, and it will make it look just like there's beautiful things happening also. Allow that black gesso to work for you. It's one of the neatest
things in the art world. Little bit right in here. Okay, maybe right here, we'll just have another little doer. These little light spots
are just where the sap green and the van dyke brown came up and touched the liquid white, and that happens automatically. And I wanna save those,
those are very special. They're beautiful, okay? Now on the other side, over here, grab a little more of the color. Let's have a little tree right here. But all we're doing is just using the corner of the brush
and tapping, just tapping. All right. (brush tapping) Now then. I wanna take a little
bit of the liquid white, put it out, grab a little
touch of dark sienna, put it right in there with it. So we have dark sienna and liquid white. Well, all we've done is
made a very thin brown. Let me wipe the knife. And I find the little liner brush here. I'm gonna take it, put a
little painter thinner on it. We'll go through van dyke brown first and load it full of van dyke brown, and then I'm gonna just pull one side through the thin color, now watch. We can make a little tree
trunk back here for this tree that has both the highlight
and the shadow at one time. Lazy man's lifesaver right here. Maybe we'll make another one right there, wherever you want 'em. But this is one of the neatest ways going of making little tree trunks. And maybe here and there you
can make out a little limb. We're gonna put a few leaves on there, so we won't see much of this. There. Okay, now then, let's just see if the old brush we were using with the dark on it will work. I wanna taint this a little
bit anyway with color. So I'll just use an old dirty brush and tap right into some
titanium white, just a little. And I just wanna use that then to sorta highlight some of these. I think those little bushes
were highlighted like that in that other one. That little opening, isn't
that the cutest little thing? I like it, that's our little painter man, that's what we call it,
the little painter man. There, and that idea was devised and put together
by a very good friend and one of the engineers
here at the station by the name of Jerry Morton. Thanks, Jer, that was a
good one, I enjoyed it. There, okay, little bit up in here. And off we go, see? All I want is just a few
little indications back here. 'Cause I remember there
was big evergreens in here. So we're gonna cover up
a great deal of this. We're not too concerned. We just wanna make sure that if any of it shows through, there's
a little color on it. There. See, just all kinds of
little doers in there. Wherever. Can't really tell. Even the things that are just black gesso, like right in there, you
can highlight those, too. Okay, and let's go over to
this one old tree over here. There he is, give him
some nice highlights, too. We don't want him left out. Just use the corners. Just the corners, all it takes. Okay, there we are. Now then, I'm gonna
take that same old brush and I'm gonna go into a little touch of the yellow, let me grab
a little more black. So we have yellow and black, which makes a beautiful,
beautiful green color. Just tap a little of
that into the bristles. Maybe a little yellow ochre, too. Ooh, that's it, that's it, there we go. Now back in here, we're beginning to see a little bit of color,
just a little color. Just gonna use the corner
of the brush still. And we're gonna begin putting in the indication of some little bushes that we can see in here. There they are, just here and there. A little more of the yellow
ochre, indian yellow. There, there's one, ooh,
isn't that beautiful? Look at that little rascal
shine out there in the sun. See, and by changing the angle, you can make those little devils hang over and be lazy or whatever, whatever. Use your own imagination. Just a touch of the
bright red here and there just to change the flavor, not much. Not much, boy, look at there. Just enough to make it a
little more interesting. We'll do one little bush at a time. One little bush at a time. Let's go on the other side over here. Put one right there, okay? Something about like that. Now, with our liner brush,
with the old liner brush, little bit of that dark
color that we were using. And let's just put here and there some nice little trunks
and sticks and twigs and some little things that you might see. There, sometimes you can see 'em right through some of
the branches like this where there's something
growing up through there. And it makes your painting
a little more interesting. There. Just wherever. 'Cause there's always
little sticks and twigs out in the woods like that. Now then, let's find us a fan brush and mix up a big old gob of color. Let me clean off a spot to work in here. Let's take, I wanna use
phthalo green today. Phthalo green, prussian blue, black. A lot of color. Crimson, maybe even some
van dyke brown, who cares? Long as it's dark. And I want the phthalo green in there because that green will take over. Everything that comes out of this pile will have that greenish hue to it, that phthalo green hue. Let me wipe the old knife. And we just wipe our knife on, we got some paper towels
down here we wipe it on. All right, let's take the old fan brush. Maybe in our world, there lives some trees, I think there
were some evergreen trees. Oh, here goes our beautiful
little tree right there. Right over the top of that. And we'll push upward today. Touch with the corner of the brush and give it an upward push. Or as my son Steve says,
if you've watched him on some of the shows, he says mush it, give it an upward mush, just push it. There, very dark though, very, very dark. Okay, there's a tree. And I think there was a big one that went clean off
the canvas right there. So push upward, and there we go. Great big old tree. Big old tree. And just work down, down, down. And you push harder and harder as you work down the tree. Just really get in there and push. Down here we don't care. We'll separate all of
this with highlights. You could put this part
on with a paint roller. Another tree, maybe he lives right there. And the same thing, give
it a little upward push. Upward push, big, strong tree. It goes right on off the canvas. And sometimes it's neat to leave a little piece of the trunk showing. We'll do that, how's that? Little naked spot. There. And sometimes in some
parts of the country, the limbs hang down on evergreens. In other parts of the country, they go up. Or like when I lived in Alaska, you can go some places they hang down, some places, they go up. Maybe it just depends on
how they felt that day. Actually, I think it
has something to do with the amount of water and
cold and everything. But who knows? I don't try to understand
everything in nature, I just look at it and enjoy it. Just a little light striking the trunk right there where it's
gonna show like that. Okay, I have several
little fan brushes going. Let's take some yellow and some of that same color we used to make the tree. Maybe I'll reach up here, be right back, and get a little black, wanna dull it. There, good, good. Very good, black and yellow
make a beautiful green. Now then, sometimes even a little brown. Ooh, that, yeah, that
dulls it down even more. Okay, now we can go up in here and just begin placing
a few little highlights on some of these trees. Once again, we're still
pushing upward, though. This is where you separate 'em. And put all the little arms on 'em. Look at that, isn't he
a cute little rascal? This is my little friend Clyde here. I give 'em names, shoot. People look at you like
you're a little weird, but you know, painters are expected to be a little different. A little different, and that's all right. That's all right, huh? Always been a little
weird, so no big deal. Everybody who knows me expects that. There. Okay, just right on down. But think about shape and form and how you want the limbs to look. 'Cause this is where we separate
all them little rascals. And darker, darker, darker, down here. And if you don't add any more paint, that will happen automatically. Automatically because
you're running out of color and you're picking up the dark color that's on the canvas automatically. If you allow it to happen,
it'll get darker and darker as it works down. There, there's another one. Look at all them rascals. You can just make as many or as few as you want here, it's up to you. Let's find another brush here. I'm gonna take a little bit
of that same greenish color and a little yellow ochre, indian yellow. Put 'em all together,
give it a little tap. Push that brush, see? Creates that little ridge. All right, let's go up here. Now then, back in here
we had a little grass, little soft grassy area,
so just take the brush and begin tapping. Just begin tapping, let
this begin working together. Think about the lay of the land now. It's very important that you
begin thinking about that. See, by changing the flavor a little bit, you can see the different planes. All you have to do is add another color. There, think about where the light would play through here. Just look at there, you could walk right on back in there now. Good place to walk back there. Also good place for a
little mosquito to hide. I'll bet you'd catch a mosquito in there. There we are. I love in Florida, and
so do half the mosquitoes in the world, I think,
we have our fair share. I tell you, we had a little
cabin right in there, so let's do that, I think. I think that's fun. We have a lot of paint here, so let's take and just scrape out a basic shape. And this is great because you're not committed at this point. You can just play and piddle all you want. It allows you to lay out
your whole little cabin. We had a log cabin, I think. But you can lay it all out without really being committed this way. But most important, it
removes all this excess paint. We have a lot of paint back here now. Several layers, just wanna
get that out of there. I'm gonna take, we'll
start with van dyke brown. Just plain old van dyke brown. Or another fantastic way to make brown, and I use this very often
when I'm painting at home, is take alizarin crimson and mix it with sap green. It makes one of the most beautiful browns that you've ever seen. A very good friend that
I used to paint with turned me onto that, Audrey Golden, who's one of our instructors
down around Fort Lauderdale. But she used to use that,
and I painted with her when I first started,
and sort of picked it up. But it's very nice. And then you can take alizarin
crimson and phthalo green, and it makes a beautiful black. Beautiful black. There, okay, all I did is block that in with some dark color. We had shingles on the roof. For that take white, midnight black. We just mix it together. Makes sort of a gray color. Let me wipe the knife. Now for that, I'm gonna use
the small edge of the knife. And we start, and we just start pulling. Just like so, see? And start at the bottom and work upward. And that way, they overlap and it looks like real shingles. Course in my younger
day, I was a carpenter and I've put on a lot of shingles. And I tell you what, as
they say in the south, it ain't this easy. My father was a contractor, so I grew up as a carpenter. And he taught me how to build things. Whoops, let's put one
right there at the peak and we'll come right down. There. Okay, now in here, we had it like an old log cabin, we'll take
white, a little dark sienna, mix it together, maybe even throw in a little van dyke in there just to, yeah, change the flavor. But don't over mix,
leave it all like that. Little roll of paint. And just take, figure out where
you want the little cabin, little logs to be, touch, give a pull. Little sidewards pull. See there, little sidewards pull, that's all there is to it. Let the knife work. There. Okay, now we'll come
back with a little brown, and we just cut 'em off
wherever we want it, there. Now down this side, logs go like that. Just put 'em in. This is a very, very
simple and effective way of making a little cabin that looks like a log cabin without going to a great deal of work. Little of the van dyke brown
just to put in between. And that sorta finishes the edges up and makes it look like there's
mud laid in between there like there is in a log cabin. Okay, I'm gonna take the brown. Much darker for this side, not
as much light's gonna strike. Still too light, want it even darker. A little black in there. That's better, yes. Want it to stay very dark on this side. Just enough so you can make out there's something happening over there. And then let's take the knife, let's put a window here,
soop, just scrape it in. Maybe another one right there. We can take straight van dyke brown, give us a door, we got a door. We can get in and out of this cabin. There we are. Maybe a little touch of phthalo blue or prussian blue, it doesn't matter. Just pull it down there,
makes it look like there's maybe some little bit
of glass in there reflecting. Little bit of gray on the knife. We can go around and sort of outline the doors and the windows. There we are. And I usually take the point of the knife with a little paint on
it and just do like that, sort of makes it look
like the end of a log. There. And you can take a little highlight color and just highlight those little ends a little bit if you want to just to make 'em sorta stand out. Sneaky, huh? All right, let's go back to our brush. Wipe off that excess. Go back to our brush that had the lawn color on it. This is our lawn out here. And let's begin tapping in indication of some little grassy areas
that live out in here. Look at that, see? There comes another one. All right, okay. Maybe there's, yeah. Little bush, he lives right there. Just a little bush. Here's another one, this one hangs right over the edge of the cabin. You're not careful, it's gonna
take over the whole world. Maybe, yeah, we'll have a bigger one sitting right out here on the edge. He's watching everything. But make up little
stories about your plants and think about the little creatures that would live in here. There's probably all kinds of
little squirrels and rabbits. Just a multitude of things
that you may never see, but they're here, they're here. I'm gonna take a touch of
that just brown and white or gray and white, whatever. And let's put the indication here of maybe there's a little path that flows right out of that cabin. Just comes right out. And we can take and clean up the edges of that path a little with the brush. And off we go. Now, now, now, now, watch
here, this is the fun part. Let's just take pure titanium white. This is the fun part, watch here. Just pull straight down. And because we have color underneath, that sap green and van dyke brown, we'll have instant water here. Just instant. Pull it straight down, straight down, and then go across, just
enough to ripple it a little. Just something like so. Maybe we can give him a little pond right out here in front of his house. Just a little pond. Take a little of the van bryk, dark sienna mixed together. And let's put some banks out here. Shoom. Little places, a little
beaver maybe lives in here. He's gotta have a little place to stand. There we go, goes right on around somewhere in here, something like that. You know, wherever, wherever. Little touch of brown and white. And here and there, indication
of a little highlight. Think about angles though, most important. Most important here. There. Just a few little things,
don't want too much. Tell you what let's do,
tell you what let's do. Let's take some liquid
white, put it down here, some dark sienna and van
dyke brown mixed with it. There. And let's get our old filbert brush. I like to make rocks with
the old filbert brush. That works so well. So well, let's go right
into van dyke brown and dark sienna, just mix
'em together like that. Like so, both sides. Then we go over to the thin paint and just pull one side through. So we got dark on one side
and light on the other. Now then, touch, and that quick, you can make the indication of a lot of little happy stones
that live right out here in the edge of the water. Wherever you want 'em. And as many or as few as you want. Okay, maybe over in here there's some. Let's see, okay, just sort of pick around, pick out the ones that you like. Maybe there's even a few
out in the water, who knows? Who knows? If you put 'em out in the water, grab the bottom of 'em, pull down with a little fan brush or something. And then go across, that way, there'll be a reflection
under the stones, too. Just pull straight down and
go across, just a little. Just catch the bottom of 'em,
pull 'em across and down. Now then, we can take a little bit of liquid white,
I'll put a little gray in it. Some of that black and white,
little bit of black in there 'cause I want a gray color for this. But it's thin paint. And we can come in here and just add just a few little water lines along in here. Something like so. Wherever we want 'em. There they are. See there, though? And these water lines, they'll sort of clean up the bottom of your stones and your land and bring it all together. And it really, really adds
a little finishing touch to your painting. There. Okay, don't want this
little stone left out. Give him a little ripple, too. And on the other side, same thing. Same thing over here. Just give a little ripple here and there. Now we can take a fan brush here, and I have one that has
a little green on it, yellow ochre, indian yellow. Little bright red maybe once in a while. And we can push in a few
little happy grassy things that come right down and bring all that
together, so the land area is just not a straight line across there. That sorta bothers me
when it's just straight. So by pushing upward with
the corner of the fan brush, you can create all these
little bushes here. Shoot, I tell you what,
let's take the liner brush, a little bit of bright red, thin it down. And let's sign this little rascal. Hope you've enjoyed this one. This will show you how the
little opening was made. There, and with that, we're gonna call this painting finished. And from all of us here,
we'd like to wish you happy painting and look forward
to seeing you next time. Until then, God bless. (light music)
