Fisherman's Paradise

[Music] Hi, 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.

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

Standard old 18 by 24-inch pre-stretched canvas, but you use whatever size is convenient.

Today, I've taken, and I put a little bit of just masking tape around the edges underneath here, and I covered the edges with a little bit of black gesso, and I've just got some paper here to keep, to keep from painting on the black gesso.

When we pull that out, we'll have a black border that goes all the way around this painting.

Inside here, I've just covered the entire canvas with a very thin, even coat of the Liquid White, as we normally do.

And from there, let's just make something that's bright and shiny, has a lot of color.

it's a fantastic day here, and I hope it is wherever you're at.

So let's start, let's start today, oh, maybe we'll use just a touch of the Indian Yellow.

That's a very bright nice yellow.

A little bit on the two-inch brush.

And let's do something, that looks like a, let's go right up here, something that looks like maybe a big sun, shining through there, I don't know.

Let's just start off and have some fun.

There, now if you can do that, you can paint the rest of this painting.

That's all there is to it.

I'm going to go right into, without cleaning the brush, a little bit of Cad Yellow.

And we'll just put that right around the edge.

Next color I use, a little Yellow Ochre.

I'm not cleaning the brush in between these colors, because I want them to mix anyway.

Just a little Yellow Ochre.

There we go.

Now then.

And now, I'm sort of putting this on with little criss-cross strokes, because it gives you little fuzzy edges that are much easier to blend together than old harsh line.

Something like that.

Now then, I'm going to mix up an orange and for that I'll use a little Cad Yellow, a little of the Bright Red.

I want to make a nice orange color, something like so.

Let me clean off the old knife.

You just wipe the knife on a paper towel.

Still haven't cleaned the brush.

I'm going right into that nice orange color, and just bring it right on around.

Whew, this going be a firecracker.

There.

I like these nice colors.

You could, if you do a painting with these colors, I tell you, it will certainly brighten up a dull room.

Mm.

There we go.

Something about like that.

Alright, still haven't cleaned the brush, and we're just allowing these colors to blend together over here on the edges.

Okay, just straight, straight Bright Red.

Now, we're going to get, we're going to get into some beautiful colors.

Right there.

And see we have color on the brush, and we have color on the canvas and there's Liquid White under all of it.

So it's continually mixing.

And none of it's going to end up as pure color.

Okay, now then.

Still without cleaning the brush.

Go into Dark Sienna.

Still haven't cleaned the brush.

And we'll just bring that right around the edge.

Right around the edge, just like so.

Just plain old Dark Sienna.

Something about like that.

Once again, these little criss-cross strokes certainly make blending, much, much easier.

A little more of the Dark Sienna, put right up in here.

Don't want that little corner left out.

Okay.

And we have a little hole left in the sky up there.

We'll use just straight old Van Dyke Brown right in there.

Alright.

And that's basically, all we're going to put in the sky, as far as color goes.

Now then, let's do the most fun thing in the whole technique, wash the old brush.

That's, that's really where you take out your frustrations and your hostilities.

Shake off the excess paint thinner, [laughs] and just beat the devil out of it.

There we go.

Now I'm just going to take clean brush, dry as I can get it, and begin blending this.

Just blend it, blend it, blend it, blend it.

You want to blend it until you can't tell where one color starts and the next color stops.

Just work it and work it and work it, and when you're doing this, I would recommend that you sort of step back from your canvas, and take a look-see every once in awhile.

When you're as close to it as I am, it's very difficult to tell what something looks like.

Step back and take a look-see.

There, and then you can really tell what you have in your world.

Okay.

Now then.

I think I'll wash the brush again.

I just look for excuses to wash the old brush.

Now I want this to be even brighter.

As I say it's a fantastic day and everybody here is feeling good and I think we'll just, we'll just make something that's, oh it's shiny.

So, I'm going to take straight Titanium White, start right here in the light area and begin blending outward.

It'll mix with all those beautiful colors and it'll come brighter and brighter.

And you can do this several times.

Several times.

I recommend you at least wipe your brush between each color or even better, clean it.

In the sake of time here, I'm just going back and not cleaning it, but I am wiping it in between.

There we go.

Boy that rascal will shine now.

Lookie there.

And we'll just go across to sort of take out the brush strokes.

Just blend everything together.

Something about like that.

Okay.

Down here, I'm going to have some water.

You know me, I, I love water.

So, we'll just take a little yellow and put right in there, a little Cad Yellow, a little, a little touch of the Yellow Ochre.

Just reflect a little of that color into the water, a little of the bright red.

Doesn't much matter.

There, maybe even a little, a little touch of the Dark Sienna.

Just the basic colors that we had in the sky.

A little more of the Dark Sienna right there.

Something about like that, and a little bit of Van Dyke.

The Van Dyke Brown will, makes the edges darker, helps, helps lead the eye into the light area.

Okay.

Now then, wash the old brush again, then we can blend that out.

This is a good one if nothing else, it'll teach you how to wash the brush.

There.

[laughs] I must admit, I just, I just really like to do that.

There we go.

Okay, now we just blend it out a little bit, and as we decide what's in the foreground here, then we can, we can add or subtract.

Doesn't matter.

At this point, we're just, we're just worried about a sky and putting some color down here where we know water's going to be.

Alright.

I guess now we have to start making some big decisions in our world.

Maybe... Let me find a little fan brush.

Maybe way back in the background here, let's take a little bit of Dark Sienna, put a little white in it, a little white in it, maybe a least little touch of the Bright Red, something like so.

Just make a nice color like that.

Let me wipe off the knife.

There, and we'll put a little of that on our little fan brush.

Just load it up.

You can use a Number Three or the Number Six fan brush.

It doesn't matter.

Let's go right up in here.

Maybe there's a, well maybe there's a little, maybe there's a little island back here.

What the heck, make up little, just little ideas.

It doesn't matter.

Just want to show the indication of something that's far, far away back here, far away.

There, we're not looking for a lot of detail, but now we want to have a reflection, so we'll pull a little bit of that color down too.

Take our old brush, old two-inch brush, grab that, give it a little downward pull, [Bob makes "zoop" sound] go across, gives it some instant reflections under there.

And take a little bit of the Liquid White, put it on the palette, least little touch, least little touch of the Bright Red into it, just to give it a little, a little pinkish taste.

Cut across, get our little bit of pink, lives right on the edge of the knife there, and we can go up and we'll just cut in a happy little waterline, just a little separator, just a little separator here.

Now if ever do a waterline that you think is too bright, just clean your knife and go back and rub it, and it'll go away.

It'll go away.

You can rub it till it just totally disappears if you want to, up to you.

That worked pretty good.

If it works good, let's do it again.

Take that same color except for I want to add a little more of the Dark Sienna, and maybe a little Van Dyke Brown to it, want to darken it slightly.

As things get closer to you in the landscape, they should get a little darker, okay.

Now, maybe, maybe, there's another little, little doer, little peninsula, whatever, that sticks right out here.

This might be, maybe it's the half of another little island, I don't know, don't know.

It's your world.

You decide what it is.

Just lift upward, make it look like little distant trees and stuff that are growing back here.

Pull down.

Once again we need that reflection.

If you ever paint a little projection onto the water like this and it doesn't look right, it looks like it's floating on top of the water, way above it, chances are it just needs a reflection underneath it, and that reflection causes it to set down into the water.

There, come across, and once again our little, little reflection will come back in here.

Take a little bit of that Liquid White that we had and we'll put another happy little waterline right in there.

And you can make as many as these little, these little islands or projections or peninsulas, whatever you want to call them as you want or as few.

Maybe you don't want any.

It's up to you, up to you.

There's total freedom on this canvas.

Here you can do anything that you want to do, anything that you want to do.

Alright, shoot, you know what, maybe there's some more there.

It's our world and we can do it if we want to.

I'm going to use that same color, only a little darker.

I'm going to put a little Alizarin Crimson in it now, a little crimson.

Ooh, that's nice.

I like that color.

So it's just basically the two browns, Alizarin Crimson and a little white.

Let me wipe off the knife.

We'll just keep using this old fan brush.

It's working pretty good, so if it's working, as my father used to say, "If it ain't broke, don't fix it".

Alright, and it's not broke.

Let's go back up here.

Maybe there's a big group of, big one, like this, only big, it's closer.

So we'll use the brush this way, and just tap down.

You know, I got to little piece of film I want to show you today.

It's so fantastic, you know, I love animals and I work with animals all over the country.

I'm just going to be doing this while we're looking and animals have a special affection for children, and my young friends love animals.

This is my friend, Paul, and he lives right outside of Orlando, and his grandmother is Carmen Shaw who's one of the animal rehab people.

This young man, he is so cute, and this little baby racoon he has here, isn't he precious?

Paul and I sat and talked for quite a while and he told me a lot about animals.

This, this young fella, since his grandmother has worked with animals for many years, he's grown up, literally, around these animals.

He knows more about animals, probably than I do, and he has a special thing.

He's inherited his grandmother's, oh I don't know, I think, I think animals know when people really like them and they trust them and this young fella has that, but isn't he cute?

There, see all I'm doing is just putting up some indications here, some trees.

I want a little more detail in these, than I had back here, so I'm using the brush this way, sort of vertical.

Now then, I need some mist in there.

We'll just take a clean brush, two-inch brush and tap, and tap.

You could even, you could even put a little touch of white paint or a little white with maybe even a little yellow on your brush.

Okay, let's do it.

Let's do it.

It's easier to show, take a little Cad Yellow, a little white and you could tap that in to create a, create a nice misty effect back here.

See how it looks like mist laying there already, and then gently lift up.

It just takes out the little tap marks and sort of blends it together.

Now then, once again, as you know, if we want to set it in the water, we have to put a little reflection under here.

You have to decide where it lives and put a reflection, go across.

[Bob makes "soop" sound] There.

Isn't that neat?

Now, I think, I think, let me grab another fan brush.

I have several of them going here.

I think maybe we need some trees that are even closer.

By putting all these layers in your painting or planes as they're called, it helps create that illusion of depth and distance in your world.

I'm just using straight Van Dyke, Dark Sienna and Alizarin Crimson, and we're just mixing them together here, like that, maybe a little more crimson.

I like that little reddish hue.

Okay, now wipe off this old knife, just clean off.

Now, once again, back to the old fan brush load it full of color, a lot of paint, a lot of paint.

Don't be afraid of getting too much color in there.

Don't think you can do that.

Let's go up in here.

Maybe in our world, there's a big strong tree that lives right there.

Notice that this tree is darker in color than the one behind it.

So it stands out now.

There, there he is.

There he is.

Lives right there.

He's got a friend, right there.

Even trees need friends, and it's rare that you find just one tree growing in an area.

Usually, usually there's several little trees.

You know how it goes.

Oh trees get together and pretty soon there's a whole mess of little trees.

That's what makes them wonderful.

We'll just let them a little smaller, so it helps create that illusion of going down, down hill there, a little bit.

Maybe this one's a little bigger.

Don't have each one of them progressively getting smaller or progressively getting bigger because trees do not follow the rules like we do.

They grow however it makes them happy.

However makes them happy.

It's like a lot of times in art, we're told that you have to have odd numbers of things.

No, artistically, that looks better, there's no question about that, it looks much better, but in nature nobody ever told the trees that rule.

So if you're painting a scene from nature and you want to have an even number of trees it's your world, you can do whatever your want.

There we'll just take a little dark, that dark color, and just put the indication here and there of a little trunk.

It's the same exact color, but it shows up, a few little trees and stuff.

Now then, when we get that old color going I'm just going to add a little tiny bit of Yellow Ochre, right on there.

Just come back in here, and here and there, and there and here.

We don't want much.

A few little indications of some highlights.

I want to keep this dark, real dark, because that what makes it stand out from what's behind it.

Maybe, we'll just take that old fan brush.

That's working pretty good, and maybe there's just a little grassy area that lives right underneath the trees.

Just push up a little dark color.

The dark color's there only so our light will show.

You can't have light unless you have dark.

Dark is what makes it show, just like in life.

You can't, you can't appreciate the good times unless you have few bad ones.

That's what makes us appreciate the good times when they happen.

There, a few little reflections.

Go across.

Something like that.

That's all we need.

Tell you what.

Tell you what.

Maybe in our world, maybe, let me clean off a knife here.

Maybe way back in the distance there, I'm going to use a small knife.

Maybe there lives, I'll tell you what.

I'm going to do something else first.

Changed my mind, and it's our world we can do that.

I want to put a little highlight on that grassy area.

Use a little Yellow Ochre and a little Indian Yellow.

Maybe even a little touch of the Bright Red now and then.

See that flattens it out, makes it look more like there's a, like a little flat area.

I think that looks a little better, don't you?

There, now then, back to our little knife.

Maybe back here in our world, maybe there's just a little tiny and we can see way back, a little tiny house.

That's the reason I'm using a small knife.

There's his little roof.

[Bob makes "tchoop, tchoop" sounds] Don't want a lot of detail, he's too far away.

Sit's right out there on the edge of this gorgeous place.

We'll put a few little grassy areas, right around his foots.

That's where I want to live, is right next to that water.

I love water.

Always wanted to have a home, right on the water, and maybe one day I will.

There, put just a little highlight on the roof, just enough to make him sparkle a little bit.

Now, I don't want that little house to get lonely.

Tell you what, maybe, come right up in here, maybe there's one that lives right here too.

He's a little closer, so he'll look a little bigger.

There, and we can put as many or as few as we want in our world.

Maybe this one's actually out in the water.

Maybe he's on stilts.

Maybe this is a little fishing village.

Maybe we just keep making up things here, and we'll have a, we'll have a whole [laughs] whole group a things, I don't know.

You just sort of let these things happen.

Okay, want a village, there's another one.

How many's in our village?

I don't know.

I'm just putting in some dark areas, maybe.

Maybe there's another one there.

Doesn't matter, because in your world, you can do anything that you want to do.

Just all kinds a little things.

We'll take a little white, a little brown, a little, a little bit of the Alizarin Crimson, Yellow Ochre, just mix them together.

I want some, some nice colors.

Oh that's coming out, but I want to leave them marbled, so when we put little highlights on the roofs, I guess that's a word, roofs, more than one roof, it'll separate them, just a little, with all kinds of little variations going on in there.

I'm going to take some white and just black, just Midnight Black, to make a nice gray color.

Maybe some of them are gray up here.

Ooh I like that.

And we can take the white, the gray, all those colors, just mix them together, put all kinds of little sides on there.

Come back with just a touch of color, maybe make out a little window indication, here and there.

These are too far away to have a lot of detail, so don't worry about them.

Don't worry about them.

Maybe, we said this, maybe these were on little stilts.

We'll put the indication here and there, some little stilts that they're standing on.

See there, they're just indications.

Once again, too far away to worry about a great deal of detail.

There.

Now then, I want to reflect those stilts into the water.

So I just grab them, pull them down, and that easy, that easy.

Take a little bit of the Liquid White, and just make a little ripple here and there, just little ripples.

Tell you what, let's get crazy.

Maybe right here.

Ooh, I'm going to go right over the top of that.

That's alright.

Well just go right, maybe there's a bigger one, that lives right here.

[Bob makes "sssoo" sound] This one's sort of looking more toward us, something about like that.

Come back with our highlight color, put a little edge right there, a little indication there, come right down in here.

There.

Maybe there's a little walkway around, I don't know.

Make up little things.

It's out in the water.

He's got to have a way to walk around his little building.

Maybe there's a little door.

How about a little window?

We can do that too.

It's our world.

A little highlight around there.

Maybe just a little, a few little, a few little posts, that stick down in the water, like that.

Make them a little longer than, than they actually should be, because we're going to pull some of them down and turn it into reflections.

See.

[Bob makes "tchoom, tchoom" sounds] Then just go across, just enough to wiggle it.

There, come on, like that.

Just enough to put some little ripples here and there.

Now, let's grab an old one-inch brush.

I'm going to go into the browns and crimson, a little black, whatever.

Maybe even a touch of the Prussian Blue.

Don't want much blue, though, just a little blue, just to darken it.

Maybe there's some bushes that live right here.

[Bob makes "tchoo, tchoo, tchoo" sound] Just throw them in, the least little bit of blue now.

The least little bit.

All kinds of little things live right there.

Take that same brush, go into some Yellow Ochre, and Indian Yellow, Cad Yellow, just get some nice yellow.

Put a few little highlights on these bushes.

I use these colors, a little red too, just because they sort of match the sky, keeps everything together.

There.

Just a few little bushes live here.

Maybe, maybe even there's a few posts out here.

[Bob makes "bloop" sound] There's another one, there's one.

Wherever you want them.

Maybe one even over here.

There's some old posts that are still hanging around, a little bit of that brown and white.

Touch, and give it a little pull.

[Bob makes "Bloop, bloop" sounds] Something like so.

A little bit of paint thinner.

Maybe, maybe there's still the indication of some old, maybe there's some wires out here, I don't know, whatever you'd like for it to be.

Most of them are broke down, but there's still a few, here and there, there and here.

While we have that old color, pull up a few old weeds and sticks.

There, something like that.

Now then, let's see if we can, let's take this off and see what we got.

I'm just going to lay the palette down.

I had a little paper here, just to keep the black from getting messed up.

We'll take that off, and then let's come in here and take off this layer of tape.

[tape rips] See that sort of gives us, a nice border that goes all the way around the painting.

There, just something like so.

This is just plain ordinary old masking tape, nothing big.

But isn't that neat?

I like these little things done like that.

Now watch, watch.

In our world, there's one more post and it lives right out here.

Something like, so I'm going to let it come right into the white, so it shows up good.

A little bit of highlight color.

Let it just work, right around like that, take our little fan brush, put a little dark right in there, so it [Bob makes "tch, tch, tch, tch, tchoo" sounds] A little bit of the Yellow Ochre, Indian Yellow.

Put a few little highlights on that rascal, something about like that, just to make it look like little grassy areas.

Back to our liner brush, and let's take, maybe this piece of wire here, and bring it [Bob makes "ssst, sst" sounds] right on out, just like so, so it looks like it projects, right on out of the painting.

Isn't that neat?

I think you'll like this one.

Give it a try.

Send me a photo of your attempt.

I'd love to see it.

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

[announcer] To order a 256 page book of 60 Joy of Painting projects or Bob's detailed 3 hour workshop DVD Call 1-800-Bob-Ross or visit BobRoss.com [music] [music]