[Music] Hi.

Welcome back.

Certainly glad you could join us today, because I thought today, maybe we'd just do just a little fantasy painting, one that's very nice, very simple, and I think you'll enjoy it.

We're going to use a lot of pretty colors, and we'd just do something that makes you happy.

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

Now, come on up here, and let me show you what I've got done already.

I took my standard old pre-stretched, double primed canvas, and I'm using 18 by 24, but you use whatever size is convenient, and I've taken black gesso on a natural sponge and just sort of did this all over with the black gesso.

Then I've allowed the black gesso to dry completely, and on top of that, we've covered the entire canvas with a very, very thin coat of the liquid clear, and the clear just makes it wet.

That's the only reason it's there.

It allows us to actually blend the color right here on the canvas.

So let's start out today with, we'll use a little two inch brush, and just have some fun.

Maybe, maybe we'll start with just a touch, just a touch of the Indian yellow.

And we'll go right up in here.

It doesn't take much, just a little.

And we'll just put in a little touch of color, right along there.

Something about like that.

Very, very little.

All right.

Just a, just a nice warm color.

Without cleaning the brush, I'm going to add a little bit of the yellow ochre, and go right above it just to give it a little, a little golden color.

There.

About like that.

Okay, maybe, tell you what, tell you what, without cleaning the brush, let's just use a little bit of Alizarin crimson.

Not much, doesn't take much.

And since we're doing a painting that has a lot of beautiful colors in it, we'll just use these gorgeous, gorgeous colors.

When you do this, maybe you want to try it in some other colors or some other flavors.

It's up to you.

I just want to show you one way of making a very, very pretty little painting.

There we are.

Now then.

Just blend that together a little bit, and we're in business.

And that's really about all I'm going to do for this little sky.

Okay, I've got several of these little two inch brushes.

Let me grab another one.

Now, down here on the bottom, I'm going to take a little bit of phthalo blue and phthalo green, just mixed together.

A little green, a little blue, both in the phthalo colors.

As I say, I want to play with color today.

Just do something that makes you feel good.

We'll go up in here, and maybe down in here, we'll just go across and put some of this gorgeous color in.

Isn't that just a delightful color?

It's pretty, makes you happy.

There.

And all these colors that we've used are fairly transparent.

Some of them are very transparent.

But all of them are transparent enough that you can see this black design that we put on here right through them.

And we'll just cover that all up.

We'll make big decisions later on, what goes where, and anything we don't want, we just cover it up because, as you know, we don't make mistakes.

[chuckles] We just have happy accidents.

Time to wash your brush.

That's my favorite thing.

Wash it off with odorless paint thinner, shake it, [laughs] and just beat the devil out of it.

You can change the decor of a room very quickly if you're not careful doing that.

I suggest, if you're going to do this at home, maybe get a little brush beater rack, and put it in the bottom of a wastepaper can, and then you can shake the brush off in the can, and then beat the rack.

It's all contained.

It'll save your happy home and your marriage.

Let's take, let's take some Prussian blue, Alizarin crimson, and some black.

Pretty heavy, pretty heavy on the crimson though.

I'm sort of looking for lavender, sorta.

Okay, pull it out very flat like so.

Cut across, get a little roll of paint right on the edge of your knife.

There.

Tell you what I want to do, I want to take a little bit of that, put some white with it.

Maybe we'll make a little mountain that's far away, and then we'll make one that's closer, show you how to do that with the same color.

Put white in a little bit of it, and get a little roll of paint, there we are.

Now maybe, if we want to make a distant mountain, just take the knife, and put in a very basic little shape.

And the further away you want it to look, the more white you add to it, because, when it's far away, it'll be very light in value.

Scrape off all the excess paint.

Just really get in there and scrape it.

With a clean, dry brush, then you want to grab that and pull it.

Once again, because we have the clear on there, you can move this color.

You can literally pull it all over the canvas.

There.

And very gently here, we'll just blend it all together so it's very soft, and very far away.

Just a happy little mountain that lives way back in the distance somewhere.

There we are.

All right.

And that's all I'm going to do, because I don't want a lot of detail in the mountain that's far away.

Now we go to the solid dark color, it's the same color without white in it, cut off our little roll of paint again, and maybe, right here, there's a mountain that lives closer to us.

So we'll just drop him in.

Just a very simple little mountain.

Nothing real complicated.

At this point, all you're looking for is a nice outside edge here.

We could care less what's going on in here.

We're just looking for that little outside edge.

Maybe something about like that.

Once again, scrape off that excess paint, and we'll grab the old two inch brush, give it a little pull, and I want this to blend out until it literally just blends into, into nothing.

Just knock off that excess paint.

I'm trying to remove all the excess paint here that I can, because I want the bottom of this mountain to be lighter than the top.

Very soft on the bottom, very misty, quiet little devil lives way back there.

There.

See that?

That gives us a basic shape, and already, you can see two ranges of mountains.

Now the reason this one looks closer is because it's darker.

That's the only reason.

Because, as you know, it's the same color.

We just added a little white to the back one.

Now then, let's take some titanium white, and we'll put a little black in it.

A little bit of black in it.

And maybe, maybe evven a little bit of the bright red.

That's pretty.

Make it, make it look like that, but I want it to remain marbled.

I don't want to over mix this color.

All those beautiful patterns in here, when you get that little roll of paint, they're right there.

And let's go up in here.

Got to make some big decisions in our world.

Maybe his little highlight lives right up in there like that.

We don't know where it goes, don't know that we even care, shoot.

Maybe there's a little ridge that comes right.

[Bob makes "sssooop" sound] [chuckles] Like that.

Like that.

Maybe one in here.

Isn't that a fantastic way, though, to make a little distant mountain?

Works easy.

You can do this.

The biggest thing to remember, is apply absolutely no pressure.

No pressure.

In other series, I've mentioned, when I was teaching my son, Steve, to paint, I told him just to pretend that he was a whisper that just floated right across the mountain.

And that was the way I made him understand what a delicate touch.

And today, Steve probably paints the best mountains in the country in this technique.

That's his specialty.

All right, let's take a little white, a little bit of the Prussian blue.

Just want to make a blue and white color, about like that.

And we'll go up in here, and very gently [Bob makes "sszoom" sound] See there?

We're just putting the indication of some little shadows that live back here in our mountain.

Just a few.

There.

Wherever you think they should live.

Okay.

Maybe, in our world, there's some little things right in here.

ooh, there's a nice one, lives right there.

Now then, we can come back with our highlight color.

We can work on shape and form, and you can change your mind, you can move mountains here.

On this piece of canvas, you can literally, literally do anything.

There we go.

A little more of the shadow color.

Reach right up under there, grab that, and put a little shadow under that peak.

Each little peak, though, needs its own shadow, or it won't play with you.

It'll just sort of go away and leave you.

There.

About like that.

Maybe right up in here, little touch.

[Bob makes "dink" sound] Right there.

[chuckles] All right.

Good clean, dry brush, and I want to create the illusion of mist down at the base to this whole mountain.

So all we're doing here is just tapping, follow the angles in your mountain and tap.

Gently, gently, gently.

Gently.

We don't want to destroy, we want to diffuse.

Over here, we'll go in this direction, just like so.

Still tapping, following those angles.

And then very lightly, just lift upward.

Here, lift in that direction, always following the angles that you've painted in your mountain.

There.

Isn't that a neat, nice, simple little way to make a gorgeous mountain?

And it works.

It works.

You can do this.

Tell you what, we'll just use that same old color.

We'll take a little touch, let me clean off my palette here a little bit.

Getting too much stuff going.

There.

Got to get some room to work.

Even with a palette this big, sometimes I run out of room.

When you're using large brushes, you need a big palette.

Okay.

Now then.

Now we've got some room to work.

We'll take a little bit, looks like some blue and white, a little Alizarin crimson.

There we are, basically the mountain colors.

I've added a little touch more blue to it.

All right, maybe back here, in our world, maybe, yep, some little footy hills live way back in here, and go right on out, maybe right there, right there.

See?

Right on out to nothing.

I want them to get smaller down here, that way it'll look like it's going away from you.

There.

And we'll just sort of fill that in a little bit.

Now then, very gently, short little tiny strokes, maybe a quarter of an inch high, grab it, and lift up.

Makes it look like little trees that live back there, right at the base of that gorgeous mountain.

And work in layers, keep working down, down, down, down, until you have them all in.

If you want to separate it a little bit, take a little darker color, and you can come right back in there.

It's the same color, only a little darker, and lift that up.

See?

And it'll make it look like a whole nother later.

That easy.

Isn't that sneaky?

All right.

While we've got that color on the brush, let's take a little bit of it, pull it down.

Like that.

[Bob makes "tchoo" sound] Got to make those little noises or it doesn't work right.

But just pull it down.

And then go lightly across.

Now, sometimes, you can touch the brush into the least little touch of white, and come back.

See how it'll make that water shimmer?

But don't overdo this effect.

It's so nice, sometimes you want to overdo it, and if you overdo it, then it loses its, loses its effectiveness.

See there?

Then just come back, give it a little wiggle.

All right.

Now, a little touch of the liquid white.

We'll just put a little bit out here on the old palette.

I'm going to put the tiniest little amount of the bright red into it.

Just enough to warm it a little.

Cut across, get a little bit right out on the edge of the knife and we can go up in here, and just begin putting in a water line.

There.

Isn't that nice?

A little bit of pink in there just, just sets it off.

Just sets it off.

But you don't want to overdo it.

It's easy to overdo.

There.

Just something about like that.

All right.

I like these kind of little paintings with the black gesso.

I think the black gesso, and all the colored gessos that we've, we've introduced, is one of the neatest things in painting.

I don't know why somebody hadn't done that a long time ago.

It's now, colored gesso is, are just about a standard in the art world now.

There we go.

But you can make all kind of effects.

All right, shoot.

We can come on down here and start having some real fun now.

Let me find a brush.

Okay.

We'll just use that same old mountain color, doesn't matter.

Use some Prussian blue in there and some Alizarin crimson.

Reach up here and grab a little sap green, just add right to it, just a little sap green.

Just load the brush full.

We have to start making some big decisions here on some, what lives in our world.

Now, I put all this here because, in my mind, I see a great big old tree that lives here, and just sort of comes around this whole composition.

So let's do that.

Now, when you do your painting, you may see something totally and completely different in it, and if you do, change it.

Don't just try to do what we're doing here.

Look at your painting.

Every painting in the world is going to be different.

That's what makes it so fantastic.

Look at your painting, evaluate it.

Decide what you, what you want, what you don't want.

You can cover up things you don't want in it.

You can emphasize things that you like.

If you get something good in your painting, don't ruin it.

See, that black gesso makes this very easy to do.

You just have to put a little bit of color here.

And some of these things will show through, and it looks like thousands of little tree leaves and stuff that live back in there.

And you did hardly nothing.

Hardly nothing.

There we are, just let it come right over that old distant mountain back there.

Okay, good.

And down in here, we'll just put in some color to darken it up a little bit.

Doesn't much matter.

Once again, the gesso is working for us.

Over on this side, maybe.

Maybe, maybe... Yep.

There's a little bush lives right there.

Hope you can see that.

All it looks like right now is big dark masses, but you need dark in order to show light.

You need that dark.

Without that dark color, the light wouldn't show up.

We depend on it, just like in life.

Sometimes you have to have a little sorrow in your life, and then you know when the good times come.

But if everything was good all the time, chances are you'd just get used to it and accept it as normal.

Sometime I think that's why God put some, put some dark times in our lives, so we'd really appreciate these good ones.

There.

All right, just use the old two inch brush here, and just, just throw these things out.

Once again, up here, I'm not putting much color.

I want that black gesso to work for us.

There, about like that.

Just sort of go all the way around that mountain so it just looks like it's sitting right in the middle of all this.

Now, I'll just use that same old brush.

It's working pretty good.

Go into some sap green, with cad yellow, Indian yellow, yellow ochre, before it's over with, I'm going to be hitting on the bright red.

Now push the brush.

Create that little ridge of paint, you can see it right along in there.

There, see it?

It's important how you load it.

Let's go back up here.

Now, we have to figure out what's in the background.

We want to do that first, and then we'll come forward.

So let's decide.

Maybe, maybe yep.

This big old tree here lives in the background.

So begin thinking about how his little arms would hang out there.

We want shape and form, that's important.

That's important.

There.

Quieter, quieter, quieter down toward the base, or darker.

Want the shadows to stay down at the base.

If you have any trouble at all getting your paint to stick, add the least little touch of paint thinner to it.

Just the least little touch of paint thinner.

It'll thin the paint, and as you know, our golden rule is a thin paint will stick to a thick paint.

Thin to thick.

There's another happy little bush, and he lives right there.

Wouldn't this be a gorgeous place to live?

Whew.

Build me a little cabin right here and spend eternity just looking out across that gorgeous lake, the old mountain back there.

[chuckles] There we are, maybe there's a happy little bush over here too.

Anywhere you have these little dark areas, and just drop them in.

There.

And up in here, there's one.

That's all there is to it, I'm just using the corner of this old two inch brush.

You could do this with a one inch brush.

Oval brush works very good, it's a little bit slower.

A little bit slower, and for TV I usually use the one that's the fastest.

I work with a mean old director, and she has no sense of humor if I go over thirty minutes.

Whew.

There we are.

And add a little more sap green to that, maybe even a little black to dull it down.

And let's begin figuring out where our land's going to go here.

Something about like this.

Like so, we're going to put in, I'm going to put in a lot of little things here.

I'm just going to put in a lot of little land areas, you know?

And recently, recently I had, I had the opportunity to meet a couple of very fantastic people, and they have a little kitty cat that I want you to see.

These two fantastic people are raising a couple of little Florida panthers.

That's Bennett and Chris there, very good, very good friends, and they're raising these little panthers until they're adults, and then they want to use them, they want to use them to teach children about how fantastic animals are.

And they work with big cats, but aren't these little devils gorgeous?

When we filmed this, one of them was six weeks old, the other was seven weeks old.

I don't know which one this one is, but they are so pretty.

There we are.

But these, these very well may be, if they're not for sure, the most endangered, most endangered mammal on the North American continent.

These are the Florida panthers.

When I was a little boy living in Florida, they weren't that rare, I would hear them.

I actually never saw them very often, but you would hear them at night, and they make a sound that sounds, well, it sounds just like a lady, a lady screaming far off in the distance, and I would hear them.

They're almost nonexistent now.

The few that remain, most of them are in captivity.

It's probably the only chance they have of making it.

But weren't they just gorgeous?

There.

I'm just tapping in all these little layers of grassy areas here.

Thought you'd rather see the kitty cats than just watch all this.

I'm an absolute animal freak.

I love all these little creatures that God put here.

There we are.

And if it was up to me, I'd just raise them all, take them all home.

But I guess you can't do that.

I raise all kinds of little animals each year.

And then we turn them loose.

I don't keep them.

We turn them loose, and turn them back to nature where they belong.

But sometimes they get injured or orphaned, and they need a little help.

And I work with some fantastic people that have taught me a little bit about animals, and they allow me to work with them on some of these things.

Tell you what, going to take the old brush, dip it in some, dip it in some paint thinner, go through some Van Dyke brown, a little dark sienna mixed together there, just mix them on the brush.

And then maybe with the other side of the brush, we'll just pick up a little bit of light color, a little white on one side.

And our light's coming from that side.

Let's have, in our world, there's going to live a big old tree.

Right about there.

There he is.

Let's give him a friend.

We'll have another tree here.

[Bob makes "rrr" sound] There.

Take a little bit, light didn't show up very well on that.

I'll do a little more.

That's a simple, nice way, though, of making some very, very effective trees.

I'll want some on the other side.

I like big trees.

[chuckles] If you've painted many before, you know I like these old big trees.

There we go, another one right in there.

Give him a big old foot to stand on.

Shoot, maybe in our world, maybe there's a little one that lives right here.

There.

Now we can take a lighter brush, a little paint thinner on it, same color, just that brown, Van Dyke brown.

Let's put a few little, a few little twigs that live out here on this rascal.

There, we don't want too many.

Just a few.

Maybe this one's dead.

We'll have one dead one in there.

Got to have one here and there.

All right, now, we need some leaves up here in this big old tree, so we'll take that same old brush, our greens, and just begin picking them out.

Just pick them out.

See?

Think about clumps.

By clumps I mean, our branches projecting out at you, and it creates one shape, one form.

One at a time, don't try to do them all at once.

I know it gets feeling good and, and you get, you get to wanting to do them all.

But just do one at a time.

Think about one group of, one group of bushes, that lives here at a time.

There.

Darker, darker, darker down here toward the base.

All right, let's go on the other side.

A little touch of the bright red in there to dull it down.

Red dulls down green.

Put a few little things over in here.

Once again, just think about basic form and shape, and that's all we're looking for.

All right.

A little touch more.

Right in there.

Something like so.

But this is a neat way of doing just a fantastic little, I hope you try this one.

And also hope you drop me a line, let me know how it work for you, and send me a photograph.

Every once in a while, we show them on TV here.

Shoot.

Take a brush, a little bit of brown.

We'll make that a little path, and with that I think we'll have a little finished painting.

What do you think?

Isn't that a neat way to do a little painting?

There.

[chuckles] I think with that, we're going to call that one finished.

And from all of us here, I'd like to wish you happy painting, and God bless, my friend.

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