[Music] Hi, welcome back.

Certainly glad you could join us today.

I thought today we'd just do a fun little painting.

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

And they'll come across, right about there.

Okay, I've got my standard old pre-stretched canvas up here and I've covered the entire thing with a little bit of liquid white.

It's all wet and slick and it's ready to go so, shoot, let's just have a good time today.

Today let's get a little crazy, let's, let's have fun with color.

I think I'll do a little winter type scene.

Maybe we'll use some alizarin crimson and here we are, go right down here and take a little bit of the yellow ochre, just alizarin crimson and yellow ochre and you can just mix them on the brush, just mix them on the brush.

Okay, let's go up in here and we'll just, let's just dance in a little sky.

As I say it's such a fantastic day here I thought we'd just do a, maybe just a fun little painting and we'll use our artist's license today and that comes with your first tube of paint and it says you can do anything on this canvas that you want to do.

And today, I just want to make a happy little painting.

Maybe it will, maybe we'll make a little winter scene.

We have some nice colors in winter.

There.

Maybe, maybe, maybe something about like that.

Don't want it to come down to far.

There we go.

Isn't that a beautiful little color though?

Sort of a, sort of a peach color maybe, and it's very, very pretty and very striking.

It's a warm color that people will like.

And sometimes winter scenes can get so cold that they're almost unpleasant.

So this is a way of warming it up.

I'm going to take a little more of that crimson, a little more of the yellow ochre, a little yellow ochre.

I'm going to ... be right back, get a little bit of the dark sienna, just mix them together, yellow ochre, dark sienna, alizarin crimson.

Let's go up here.

Now maybe, [chuckles] let's, let's really get crazy, let's just take the corner of this big old brush and you could use a fan brush or the, or the one-inch brush if you wanted to and just, I've got this one going and it's dirty so why not use it.

There and we'll just put a happy little cloud indication back here somewhere, just a little.

More of the color and just sort of let this thing float around, have fun here.

Shoot, maybe, maybe there's some little stringy ones, over here.

Wherever you want them.

Just wherever, wherever.

Okay, let me get another brush, I have, I have several of each brush going here so I don't have to spend all my time cleaning brushes, as much as we enjoy that or I enjoy it, the crew here may not enjoy it as much as I do.

[chuckles] If you could see the studio you, you would understand what I'm saying.

I'm just [chuckles] blending the base of this out, just the base of it, leaving the top alone at this point.

On these little stringy clouds all you have to do is just, just take the brush and go right over.

But, now if you don't have a thick, firm paint when you do that, you're in agony city, guarantee you, instantly you're in agony city.

I'll take a little more of that and maybe bring that cloud up a little so it sort of blends together.

And back to our clean brush and we'll just blend the base of it out some, something like that, something like that.

There.

And then we'll just blend the entire canvas and you can make this as smooth as you want it or you can leave it where the clouds are more distinct.

It's really up to you, it's really up to you.

You can make it very smooth or leave little edges on it or you can blend it till it just all comes together.

Painting is very, very individual, very individual, so you just do whatever makes you happy.

As I say, you get that artist's license and it basically says you can do anything on this piece of canvas that you want to do.

And you can do it with any color that you want, any design that you want, you can make any kind of world that you want right here on this piece of canvas.

[laughs] Sometimes I hit the can, it's called "kicking the bucket".

There, just wash the old brush, and we shake them off and in business again.

Let's build us a big mountain today.

For that, I'll tell you what, let's really get crazy, I'm going to take some black, black, we'll use alizarin crimson and maybe, maybe a little of the dark sienna.

What the heck.

There, that'll make us a nice color.

Least little touch of blue in it, not much, very little blue, very little blue.

Cut us off a little roll of paint.

It's right out there on the edge of the knife.

Come right up in here, I want to do a huge mountain today.

Let's begin pushing in some nice shapes here, nice shapes.

However you want.

Now you have to be careful because when you start making these mountains, these son-of-a- guns will grow on you and take over your whole world.

It gets to be fun and you don't, you don't know when to stop.

You can just absolutely eat up your whole canvas with a mountain.

All right, maybe, oh I don't know, maybe this just comes right over.

Well, I, I did say big mountain today so we, we really have a [chuckles] large one.

We can spend the whole show just working on this one mountain.

And at home when you have unlimited time do exactly that.

Spend a lot of time working on one mountain or one area of your painting, especially when you're first learning because that's the way you learn and as I've mentioned before, if you make a mistake, don't get angry about it, look at your mistake.

I believe sincerely that you can learn as much from mistakes, if not more, than you do from successes.

And it's not a failure if you learn from it.

It's not a failure.

It's only a failure if you don't learn anything from it, then it's a failure.

And it's the same, I think, in your every day life.

Anything that you try and you don't succeed, if you learn from it, it's not a failure.

Now if you make the same mistake again, different story.

Okay, we're just blending that out and, and allowing it to, allowing it to blend with the liquid white that's on the canvas.

And just create that illusion of mist down at the base that's all we're looking for at this point.

Whew, boy we really did come out with a big mountain.

Okay.

It's a good place to just sort of clean off the brush there.

We'll just cover the whole bottom down here.

Maybe we'll have some snow down here and this, this will end up being shadows in the snow, doesn't matter.

Whatever you want.

Okay.

Now it's time to have fun.

Let's take, let's take titanium white and I'll put a little Indian yellow and a little bit of yellow ochre in there, mix them together with white, I don't want to over-mix them, I want to leave them sort of marbledy.

Sure going to get a letter from an English teacher for that word, but see how marbledy it [chuckles] is, right in here.

But what I'm saying is, don't over-mix the color and then when you pick up that little roll of paint, right out here on the edge of your knife, all those various colors are right here on the knife.

Now then, see you can come right along in here and touch and just let that slide right off the knife.

But no pressure, absolutely no pressure.

None whatsoever.

None whatsoever.

And maybe just come right along here, touch, [Bob makes "ssshwoo" sound] just let it go.

Let it slide right along there.

But if you start applying a lot of pressure it's going to look like you're trying to ice a cake.

[chuckles] And it may look, may look good to the taste but it's not going to look like a mountain, probably that you wanted.

Watch here, maybe right there, just pull it down a little.

Something like so.

I'm going to make a shadow color.

We'll use white and black, least, least little touch of blue in it.

A little dark, with a little more white with it, ooh, that's nice.

It's sort of a blue-grey we'll use for shadow color.

Take the small edge of the knife and we'll come right here.

Put a little shadow right up here on that, that little peak.

That little peak needs a little shadow.

Now we can bring this one, let's just bring it distinctly right on through there.

See that will push that one way back some where, we don't even know where it's at, I don't know that we even care.

It's way back behind there.

There.

When you learn to push mountains around, just push them around.

I'm going to take the least little touch of light color, don't want much, put a little light zing back in here.

Just enough to make it interesting.

A little touch of the shadow.

We'll let that come right through and make like a little recessed area in there.

One them little, little hiding places for the little creatures.

There.

Just sort of play these back and forth, let them go.

There we are.

But it's unbelievable what kind of mountains you can make just using a thing that looks like a big old putty knife.

There.

If that don't work, you can go out and work on your windows with the putty knife, [laughing] whatever.

There, let's take back to our little shadow color and we'll bring it right through here.

I want a nice shadow right through that area.

But pay close attention to angles, angles are really what make, makes mountains work.

It's just those nice angles.

Now then.

This painting should just about be a study of mountains.

Lookie there.

Now we bring that right on down.

No pressure, I can't say that enough times.

Probably that's still the number one thing I read in letters is I'm having trouble making this highlight, snow or whatever you want to call it, break on the mountains here.

And 99 times out of a 100, it's one of two things, either the paint is too thin and is turning to mud or you're applying to much pressure.

One or the other though 99 times out of a 100.

There we go.

Now we can just bring this along and put all kind of little things.

Back to our shadow color.

You can grab that.

Begin putting in just the indication of some beautiful little shadows back in here.

There we are.

Just let it flow, right on down.

Now something like so and maybe a little bit, back in here, just a little, see it?

There we are, a little tiny shadow and that one comes distinctly through, see how it pushed that one back.

Okay, maybe a little dark color, here and there, just to brighten it.

Believe it or not, that dark though will make it jump out at you, but don't overdo, don't overkill.

It's like so many other things, it get's feeling good and you don't know when to stop.

I have that trouble all the [chuckles] time.

There.

Get carried away and it's easy to get carried away when it starts working well.

All right now, let's play some games, let's have some fun.

We'll take the old two-inch brush and create the illusion of a little mist, right here and at the base of this and blend upward, just tap, just tap and then blend it upward, upward, upward, upward.

That removes the tap marks and blends it all together, makes it very soft and very nice.

Okay, a little bit right in here.

Now let's take the same color, but because we've misted that then you can bring, maybe another projection right off this direction.

There we go.

Just let that go, right on the rim, maybe there's a, look at that.

There we go, that's what we need.

And you just begin seeing these things in your mountain.

They're there, just start, just start working on it.

Let it go and see what happen.

Mix up a little more shadow color here.

A little touch of the blue in it, just ran out.

There.

Okay, wipe off the old knife and we're back in business again.

And, let a little of it just run right out this way.

Now, back to my brush.

Clean, dry brush.

I just want to begin tapping this, I want to bring it all together, right down here at the base.

There.

See, it looks sort of like it just spilled down there.

When God was making this mountain, maybe there was a little left over and it just sort of, just sort of dripped down here.

There.

But just by changing the angle a little bit you can give that feeling of roundness to your, to the base of this mountain and it makes another plane and pushes everything else back further into the painting.

There.

By working this a little, I want to dull it, it's a little bit too bright, there.

Just a little bit of that will dull it down.

All right, good, good.

Now, little bit more of the mist, just by tapping, all in the angles.

Make the body move very soft and very, very quiet, very smooth.

All right.

Okay.

And that gives us one heck of a range of mountains.

Okay, now maybe back in here, tell you what, let's take... let's take... wipe off the knife.

I want to use, take a little bit of white, a little white, a little white and go right into, I'm going to take a little crimson, a little crimson, a little blue, white, we'll make a nice lavender looking color here, to the blue side though.

Okay, let me wipe the knife again.

We just keep using the old two-inch brush, it really didn't matter, whatever brush works for you.

Maybe back in here, yep, right along in here, we'll just push in a little color, we'll come back and highlight that a little later.

There we go.

Okay.

As I say, that's just a good place to clean your brush and the worst thing that could happen is it ends up being shadows in there and we're going to be looking for those anyway.

So it doesn't matter.

Take that same color and we pile it up in a pile and find a fan brush here.

There's one.

Just mix a little of that on the fan brush, both sides are full though.

And we'll go up in here and maybe in our world there lives a little tree.

Let's, let's do a little push up tree, where you just push the bristles upward.

Just push them upward.

Lookie there.

Lookie there.

Okay, maybe we'll give them a friend.

Maybe we'll put the friend on this side.

Push upward.

There they are.

Now you can make evergreen trees by pushing up, pushing down, maybe we'll do some different ones in this, I don't know, we'll see what happens here.

I like to make them with that oval brush because it makes such interesting little shapes.

Okay, we'll take another fan brush, I'll take a little white, a little white, get a little of the, a little of the phthalo blue and a little black to dull it.

Don't want it too bright.

Put a little black in it, that'll dull it right down.

There.

Okay and with that we'll just tap the indication of a few little highlights on these trees, don't want a lot.

Just a little, a little right here, wherever you think it should be.

Shoot maybe there's even a little, here and there, in these bushes.

Just push upward, make the bristles bend upward.

Sometimes you can just take the old liner brush a little paint thinner and maybe in our world, yep, maybe there's an old dead tree that lives right there.

There he is.

And just very gently you can pull out a few little sticks and twigs that are still trying to hang on.

There.

Poor old things.

They just had a hard life.

But that easy we can put in the indication of a little tree that has passed away.

Okay, let's take a clean two-inch brush and let's begin deciding if we're going to have snow in here.

Where our snow's going to live.

Snow's gotta have a place to live too.

So we'll come right in here and [Bob mkaes "ssshhoooo" sound] If we pick up any of that dark it's wonderful.

We really don't care.

Okay, we'll just lay a little bit of that in And this is one of the easiest things to do in this method of painting is is putting snow in, but you need a little darker color underneath so it shows.

There, see there.

Now then.

I tell you what let's do.

Let's get crazy.

Let's get crazy, let me clean this spot off to work here.

Clean off the spot to work.

Let's take black, alizarin crimson and a little touch of phthalo blue, not much, very little blue, mostly black and alizarin crimson, very, very little of the phthalo.

Don't want this to get to lavender on us.

[Bob makes "sssooom' sound] Now then.

Let's use a fan brush.

And with the fan brush I'm just going to make a center for a tree.

[Bob makes "tchoo, tchoo, tchoo, tchoo, tchoo" sounds] Get brave, this is your bravery test.

Maybe, another one right there, smaller.

Too slow [chuckles] I want to use this oval brush anyway.

Let's try it and the oval brush is easy to identify cause it has a black handle.

All the rest of our brushes have white handles so it's easy to identify.

All right, now watch right here.

We'll take that oval brush, maybe this tree goes way on up somewhere, we don't know where it goes.

And we'll make one of those old evergreens that's just hanging down.

There.

See there.

That's all there is to it with this brush though, makes all those beautiful little things.

I've got to, I've got to show you one of my babies.

I like to show you creatures all the time and recently I went out to see the bird lady in Orlando who lives close to me, Ann Young who's a super, super lady and she let me play with Daniel here.

Daniel's a, he's a little fish crow, a little Florida fish crow and he's one of the most precious little things you have ever seen.

And Daniel and I spent, oh I don't know we probably spent several hours together, because he's hungry continually.

Little rascal.

He could, he could eat you out of house and home in a minute.

Look at the size of the mouth on that character.

[chuckles] But he is absolutely precious.

There.

Ann has all kinds of birds over there.

She takes care of song birds that have been orphaned or injured.

She let's, she releases a couple of thousand birds a year if you can believe that.

She raises these things and releases that many.

Uh oh, had a slip there.

There.

There, the only thing I was doing while you was watching Daniel there was just putting in a few little limbs on this, this old tree here.

That's all.

There.

Tell you what, just to balance this up a little, let's do one over here, too.

You know me I like them old big trees.

Maybe this one goes, sort of just take a look back and see where it looks good.

There he is.

He just runs right off the top, hangs out right here.

Literally hangs out right here.

There he goes.

All right.

And this will sort of bring the painting all together.

But I like these hangy downs that you see underneath, these limbs.

And in this series I've, I've used this brush quite a bit, because I, I just like to make trees with it.

And in some of the other series we've showed you how to use the two-inch brush and the one-inch brush and all of those.

There.

Okay, maybe it'll come right on down, somewhere about in there.

Wherever, doesn't matter, it's up to you, up to you.

Now maybe, got another oval brush here.

Take a little bit of that blue and white, a little black in it to dull it and on this little tree back here, just want to put a few little indications of some cool highlights on that one.

By cool I mean blue is a very cool color, where your oranges and reds and yellows are warm colors, hot colors.

So I'm going to put a little cool color right there and it just sort of disappear.

And this one here, tell you what let me wash the old brush.

Let me go wash the old brush.

Shake it off and just beat the old devil out of it [chuckles] that's the fun part of all this.

Now then let's come right in here.

Whoops, better mix up a little color.

Take some white, a little yellow ochre, put a little alizarin crimson in it, just to warm it up.

Hm, that's nice, that is nice, that looks good enough to eat.

Now.

Let's load this oval brush with a little bit of this color and let's go right up in here and maybe this one is a little bit brighter.

It's in the foreground, maybe it's a little brighter.

There we are.

And begin thinking about shape and form of your tree.

There we are, there we are, there's a little... [chuckles] Isn't that neat though, the way that little brush just drops them in.

And the mountain tells us our light's coming from the right so we'll just put a little a that on and then we'll drip the brush into liquid clear.

Liquid clear to really thin the paint down and also when it dries there'll be a little sheen to it.

It'll shine and it looks like highlights.

There, tap a little of that.

Let's go up in here and over here on the right, there, we'll put some of that nice, bright color.

But don't over do, you can very quickly over do, kill all your dark and this just, it just goes away and loses all of its effect.

So be careful with this, be very careful, dont' over, don't over kill.

A little more of the liquid clear, I like this clear.

That's another little thing that I invented, quite awhile back.

It's really went over well in the art world.

Quite a few, quite a few artists are using it now.

It's like the black gesso.

I, I just thought it was a natural thing to have.

You've got liquid white and liquid black, [chuckles] you need a little liquid clear.

There.

So that's my contribution to the art world.

There we are, a few little things here and there.

See how that rascal's just hanging out there.

There we are, wherever.

But it's one of the most fantastic ways of making evergreen trees and when you have unlimited time you can really set and play with this.

Tell you what, I'm going to take this and I'll grab it and give it a little pull.

Like so.

And let's take, we'll take our little fan brush, the old clock on the wall tells me it's about time to go today, so we'll just pop in a few little things like this and blend them back.

And shoot, we're just about done.

Makes a very nice little winter scene.

I hope you've enjoyed it, but you can put several of these little layers in here and bring this all together and I think you'll love this one.

Give it a try, drop me a line let me know how you like it, because I think you'll really enjoy this one.

Okay.

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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