- Hi, welcome back.

Certainly glad you could join us today 'cause I thought today we'd just do a fantastic little painting I think you'll enjoy.

So let's start out, have them run all the colors across the screen that you'll need to paint along with us.

While they're doing that, let me show you what I've got going up here today.

And today, I've got all three of the mediums being used on this one canvas here.

We have in the top here, I put a mixture of liquid white and liquid clear because I want to have some transparence in this.

If you don't have the clear, you can just use white.

Down here I put the liquid black, and I've just taken a brush and sort of stirred it up a little bit.

And that's basically all that we have done.

And with that, (brush rattling against metal) if everything goes well, we'll just do a fantastic little painting.

Let's start out today with a touch of the yellow ochre.

Just a little bit of yellow ochre.

Don't need much on the two inch brush.

And let's go right up in here.

And we'll just put in a little, just a little thing like so.

There we are.

There, okay.

Then I'm gonna add at least a little touch of cad yellow to the brush so it gets a little bit brighter.

I'm going to come back in a minute and put white in there and brighten that center up even more.

There.

Just want a nice yellow color in here.

Like that.

You're just using little criss-cross strokes.

Here we are.

Now, without cleaning the brush, I want to touch a little yellow ochre and dark sienna.

So I have a nice brownish-yellow color, yellow brown color, whatever you want to call it.

But a little bit of each.

Then we'll come right in here.

Still using the little criss-cross strokes.

Like so.

Get a little more of the paint and we'll go on the other side and do the same thing.

I like these little paintings where it looks like the sun's glowing through from the back.

They're very nice and very easy to do with some of these mediums that we have.

A little more of the dark sienna.

Want it to get progressively darker as it works away from the light.

Progressively darker.

There we go.

Alright.

Now, I'm gonna begin adding the least little touch of van dyke brown.

Not much, just a little.

Just a little so it gets a little darker.

And then it's gonna pick up the liquid black that's already here, and automatically, it's gonna get darker.

Let these mediums work for you.

Let 'em work for you.

Alright.

Okay, now then.

Let me just pick up a clean brush.

I've got (brush rattling against metal) several of each brush going.

And let's go up in here and just blend this together.

Just really want to blend it together.

There.

Let these colors just go right to each other.

The transition between colors then will be very smooth, very gentle.

They won't distract the eye.

Sort of looks like a big old egg I fried the other morning.

I'm not much of a cook.

There.

Okay, now then.

Time to clean a brush.

That's the fun part of this.

That's the fun part.

(chuckling) There we go.

Now then, I'm gonna take that same little brush and go right into some titanium white.

And we don't need much, just a little on the brush.

Start here and begin working around and around and around and around.

We want this to be the brightest spot in the sky.

Just work it and blend it.

Let it work outward.

But don't go back into the center with a dirty brush.

You'll lose that nice glow and we want to save that.

You could even take a little paint on your finger if you wanted to and make the indication, maybe there's a little sun up here.

Who knows?

Who knows?

And then very lightly, very lightly, then just blend it all together.

But it'll give you the impression that there's a little sun up in the sky.

Alright.

Now then, today, I say let's just have some fun and enjoy it.

Let our imagination take us to some beautiful places and see what happens.

(brush rattling against metal) We got the brush clean, that's the most important part of it.

Now then, let's take some dark sienna.

Pick up a little of the titanium white.

Maybe put a little black in there with it.

There we go, make sort of a, sort of a gray with a little brown in it.

Oh, it's getting nice there, it's getting nice.

Just sort of work it back and forth to you.

Find the flavor that you like.

There.

There we go, let's try that.

We'll have a fan brush.

This is a number six fan brush.

Or you could use a number three or whatever.

It's up to you.

Color on the brush, both sides.

We'll go up here.

And I want this to be like little distant trees back in here.

I'm gonna add a little more white.

It's a little brighter than I wanted it to be.

I want it to be a little more subdued.

Oh, that's much better, much better.

I'm happier about that.

There, maybe there's some little trees that live back in there.

And all I'm doing is touching with the fan brush and sort of pulling downward.

Just pulling downward very gently.

This is a super way of making a lot of trees very rapidly.

Or the indication of a lot of trees.

There.

Just sort of let it taper right on off into nothing.

Now then, take a clean, (brush rattling against metal) dry two inch brush.

Just want to tap the base of this to create that illusion of mist.

A lot of mist.

And very light, very lightly lift upward.

Just upward.

Okay, go back to the same brush, same little brush, and I want it to be just a little bit darker, so just load the brush up again.

Same colors, just a little darker.

Now then, maybe in our world there lives, yep you're right, another little layer here.

This helps create that illusion of depth in your painting, distance.

There.

Maybe it comes right on down like that.

On up here somewhere.

We don't even know where it goes.

There.

And once again, back to the two inch brush.

I want to tap the base of that to help create that illusion of mist.

Just tap it.

Let it just disappear.

Okay, and very lightly, two hairs and some air.

Just lift it upward.

But look at the amount of distance we've created in that just by playing with a little color.

Alright.

Let me clean off a spot to work here.

We'll lay that over there out of the way.

Might need it later.

Let's go into a little bit of, little black, little van dyke, dark sienna.

Now I'll put just a little bit of white in it, not much.

I want this to be quite a bit darker.

Maybe a little more of the white.

There we go.

There.

Makes a very nice color.

But it's sort of toward the dark sienna color.

That's what we're sort of looking for.

Tell you what, whoops, let me get a bigger fan brush.

Goes a little faster.

Picked up the number three and I think I'll use the number six.

Number three would work just as well.

There.

It's just that I want to go a little bit faster.

So, we'll use this one and we'll drop an indication here and there of some happy little evergreen trees.

But these are closer, so you see a lot more detail.

See how that darker color stands out against that light?

Mmm!

Just sparkles.

Just sparkles.

Maybe there's some little indications, I don't know.

Maybe they come right on down like that.

See a few little more little indications behind those trees.

There, another one.

I think we see some detail there.

Okay.

Let's have a few on the other side too.

I don't want that side left out.

Maybe, shoot, maybe there's a big one right there.

But the same way, use a corner of the brush.

As you work down the tree, push harder and harder just to add more pressure.

Make the bristles bend down much more.

Like that, look at that.

You can do that.

There we go.

Have another one.

Shoot, we just painting a whole forest here.

And that's alright.

That's alright.

Put as many or as few in your world as you want 'cause painting is very individual.

Everybody, everybody's gonna see this differently and that's the way it should be.

That's the way it should be.

There.

Okay, maybe.

I know, let's have one more over here.

We'll have one more of them little devils.

Right on out.

Now, sometimes it's interesting to show different depths.

Maybe I'll add more black to that.

Maybe back in here, you can see a few more back in there.

There.

Just let 'em sort of fade in there.

Whoa, we really do have a forest, don't we?

Now, once again, two inch brush.

I want to create that illusion of mist.

Oh, let me show you a trick.

Let me show you a trick, let me show you.

Let me show you.

Just, I saw something.

I get excited sometimes, please excuse me.

Now see here, if you want to take these trees right here and push them further back.

Let me put some mist and we'll take.

Let's just strengthen this tree here a little bit because that mist is there.

Watch here, watch here.

Look how I push that tree back just by doing that.

That's a little trick that helps show distance in a painting.

That misty area is so important.

Now, when we create the mist here, we don't want to destroy that edge.

We just want to tap in here.

Just sort of let 'em blend together.

Look at there though.

But look at the layers in there now.

And when you're doing your painting, look at these things.

Pick 'em out, make 'em work for you.

Shoot, but they're lazy if you don't find 'em and force 'em a little bit.

They'll just lay there and sleep.

Like me when the alarm clock goes off in the morning.

There.

Same thing over here.

We'll just let that blend right in to just about nothing.

In fact, I'll put a little color on the brush.

Maybe there's a big tree that lives right here, I don't know.

Some nice little bushy things back in here.

Add a little bit more of the dark color.

There.

But see, each layer gets darker and look at the amount of distance in this little painting already.

There's so many plains in there.

And these little plains are what create that illusion.

And they're really not hard to do.

They're really not hard to do.

There, just work on one level at a time though.

Sometimes we get in a hurry because it starts to work real well and it feels good and we just wanna on.

You know what I'm saying.

We get carried away.

I bet it's happened to you if you painted.

Certainly happens to me.

I start seeing all these different things and next thing I know, I'm out in left field somewhere.

There, we put one here too, what the heck.

Maybe, maybe, maybe.

There I go with that maybe again.

Maybe we have, yep.

Maybe there's a little bush lives right there.

Right there.

See?

You see these things and you drop them in.

Alright.

Okay, now then.

We can take our knife and just sort of make the indication here and there of some little trunks.

I don't want these to be too distinct, too far away, or too subdued.

But you can see a few little things here and there.

And we can take that same little brush that has a color and I'm gonna add a least little touch of maybe some yellow ochre, a little bright red to it.

A least little touch.

I don't want much color on the brush.

Very small amount.

And just here and there, I want to pop in a little of that color to make it look like there's a little highlight on some of these.

But it's real easy to overdo here.

Too much will distract and you'll lose that softness.

And that's one of the things that's so great about using the liquid black.

That liquid black will always make things look very misty and very soft because it grays color.

It adds a gray color.

Let's see here.

Find my old brush.

We'll just use the same old brush, what the heck.

I'm gonna go right into a little touch of the yellow ochre.

All the yellows.

Indian yellow.

Be right back, don't go away.

Get a little white.

(intakes breath) Oh, that's nice.

I want a bright one right here.

If our sun's right there and it's shining down.

Look at there.

I want a sparkler.

The light's gonna strike that.

It's really gonna be pretty.

There we go.

Look at all those beautiful little colors.

Maybe right there.

Put a nice little red color in there, let it just work its way back.

Just using the corner of the brush, that's all you need.

It's really all you need.

(water splashing) I want to take a little paint thinner and go into some van dyke brown.

Here and there, we'll put the indication a little tree trunk.

Some little sticks and twigs and all those little things that live in there.

Maybe back here, we can see some things.

Old dead tree maybe.

Wherever, wherever.

There's one, mmm!

That's an old crookedy one.

That one's crooked.

(water splashing) (brush tapping) Okay, tell you what let's do.

Let's get crazy here.

Let's get crazy and have some fun.

Maybe there's a little house sets here.

You know me, I like little houses and big trees.

That's my thing.

If you don't want a house in yours, don't put it in.

Every once in a while, I get a letter from somebody said, "I didn't want a house in that painting."

And you have that right.

When you do yours, do it any way that you want.

There.

We get a lot of letters from people all over the country who are painting and doing fantastic things.

The photographs that people send me, sometimes it's almost unreal that people are doing such beautiful paintings.

Every so often, we like to put 'em together and show 'em here.

So send me a photograph of what you're doing.

Share with us and we'll share it with the TV audience and let everybody see it.

If you don't mind.

If you don't want it shown on TV, if you send a picture, just say so.

We'll respect that.

There.

Let's go right here.

And we can just use a little bit of this brown and sort of decide where we want everything to live.

Touch, toom, pull.

All we're doing, blocking in color.

Get some dark in there so our light will show.

Maybe it comes down.

Maybe it's got a longer roof on the other side, see?

Some little houses are like that.

Just like so.

There, and while we have that brown there, we can just block in some sides and front.

Maybe this is a, I don't know what kind of building this is.

Maybe it's an old barn.

You decide.

You can make a little house or a barn or whatever.

Whatever.

Now, we'll take some white, a little bit of that brown color, and just mix 'em together.

There we are, something like so.

Cut us off a little roll of paint like that.

Touch.

(whistles softly) See, just go down like that, but you gotta make that little noise or it doesn't work.

(whistles softly) And our light's coming from here, swoom, so that'll be the brightest side.

Same color.

I'll add a little dark sienna and van dyke brown to it.

Same color though, same color.

(whistling softly) There I go with that noise again.

Really, some reason, maybe it's the exhaling of air or something, (chuckles) but it really does seem to make it work a little better.

There.

Very gently.

Create the illusion of an old building.

Now then, on our old building, let's have some boards.

We'll take some van dyke brown here, just a small roll and just touch.

Just touch, see there?

Create the illusion of some boards.

Want a few on this side.

There they are, there they are.

Let 'em go, let 'em go.

We're gonna have one neat building here in a minute.

We'll take our two inch brush and only one hair and some air.

(exhales air) Just barely caress, barely.

Just barely.

Just barely touch it.

If you want to smooth it out, you may like it a little rougher.

I want to smooth this one out a little bit though.

So its up to you.

Let me take the little knife.

I like that little knife.

And let's put a door in here.

Maybe I'll put a big old door like that.

And we'll let everybody figure out what their own building is.

See a little light right there.

Around, choom.

There we are.

For the roof.

For the roof, we'll take some white, a little bit of brown, maybe the least little touch of black in it.

Oh yeah, grays it down some more.

But don't over-mix it.

I want a lot of things happening right there on the knife.

And we touch.

And this is where, if you're a little nervous, it'll pay great dividends.

Just touch.

(jibber-jabbers) Let it work its way down.

There I go with those noises again.

There.

Now just a tiny little bit on the other side.

Just this little light zinging through there.

Shoot, we got a pretty nice looking little building there.

We can live with that.

Take a little dark color.

I'll use some black and some browns, a little alizarin crimson in there too.

Let's come right along in here.

Touch and let's begin thinking about how the land's gonna flow around this little building.

How do we want it to go?

This is where we cut it off and get our perspective right.

There.

Okay, that's about all we need 'cause we got the black there.

Maybe on the other side something comes down.

Yeah, that's good.

Let's put that right there.

I'm beginning to see some things in here.

Alright.

Tell you what, tell you what.

Let me find, yeah, we'll use a one inch brush today.

We'll be different.

Take a little sap green, a little yellow.

A little yellow ochre.

Be right back, get a little black in there too.

There, it's nice.

A little indian yellow.

And put a little red in there.

Red dulls it 'cause red and green, as you know, makes brown.

And maybe in our world, maybe there's some happy little bushes that live right along here.

I'm just pushing upward with a side of the brush.

Just pushing upward.

Want to make like tall grass here.

(whistles) Maybe.

Let me find the little knife again.

Tell you what, maybe there's a nice stone lives right there.

We can do it with a knife or you can do it with a filbert brush, that's very nice too.

Just touch.

(whistles softly) Just make the indication of just a happy little stone.

There we go.

A little grassy thing that comes down, pushes that stone right into there.

Just keep pushing.

Like so, there.

A few little things over here.

Wherever, wherever, wherever.

We have to have a path in there.

There's just no getting around it.

Have to have a path.

Let me take a little of van dyke, dark sienna.

Let's have a little path comes right down there.

Right there.

And once we get down here, we gotta have.

Let's go back here.

There it comes.

We'll have another little path there.

So he can walk down here and walk on up wherever he wants to go.

A little white.

A little touch of blue here and there too, just to gray it down.

The least little touch of, oh, that's nice.

Gives it a little cool flavor.

A little cool flavor.

There we go.

Then we can just bring some of these little grassy things right up to the path and that'll push it back down in there and make it all part of the painting.

Make it work.

And this is just using the side of the brush.

Let's put a few on the other side.

So you just push upward.

Just bend it, bend it.

There.

And work in layers, doing the thing that's farthest away first and always coming forward.

Always coming forward, forward, forward.

There we go.

Create the illusion of a little hill there.

Now then.

Shoot, let me find another fan brush.

Ready to get crazy?

Let's do it.

Let's go into, we use van dyke brown, a little dark sienna.

Let's go up here.

Maybe in our world, yeah you guessed it (chuckles).

Here comes Bob's big tree.

(whistles) Right there.

Right there, let's give him a friend.

There's one.

(hums) And let these old trees wiggle and jiggle and have character.

Maybe there's one back here in the back somewhere.

He lives right back in there, stops there.

He's got a little friend over here.

Just make out some little indications, whatever.

Whatever.

Man, let me find the liner brush.

There it is.

These brushes, if you don't watch it, they'll sneak off and hide on you, leave you by yourself.

We have a few limbs hanging right here.

There's one.

Old limbs hanging out here, watching the sun shine.

There.

Tell you what, let's put some leaves up there.

Let's have some fun.

We'll just a little brown and black, least a little touch of the blue, not much.

And let's just come right in here.

Just use the corner of the brush.

Maybe we'll let this old tree just hang right out here by the sun.

Right out by the sun.

Mmm, looka there, looka there.

Mmm!

Isn't that nice?

That is nice.

Alright, we'll leave this one branch hanging.

I like him out there by hisself.

See, you pick out little favorites and you leave 'em.

You paint something nice in your painting, be careful, save it.

Shoot, work around it sometime if you can.

No use messing up the good stuff.

We'll take a little highlight color, see if that shows up.

Yeah, it's enough.

Then we'll just put a indication here and there.

A few little leaves up there.

There we go.

There.

Just the corner of the brush.

Pay attention to shape and form.

I know, you've heard that before.

There.

Even, sometimes in the newsletter that we publish, I'll put little articles in there about shape and form and how to create 'em.

There.

And that gives me a little more time.

In the newsletter, I can talk about things a little more and show 'cause I don't have the time restraints that we have here.

There we go.

Down at the bottom here, put a little grass around his foots.

We want that to just settle right in there.

There, okay.

And we can take a little bit of light color on the fan brush.

If you wanted to highlight the edge of this tree so it stands out, just (whistles).

Put a bit of light.

Really makes these little trees look a little better.

Shoot, I think we about have a finished painting.

You can scratch in a few little sticks and twigs wherever you want 'em and it'd be done.

Think we'll call that one finished then.

So, tell you what, from all of us here, happy painting and God bless, my friend.

(cheery music)