[Music] Welcome back.

I'm certainly glad you joined me today.

And today I thought we'd do the little animated opening, the little painting you see at the beginning of each show.

And I'll show you basically how that painting was done.

Now when we produced that actual animated opening, I have a little more time and then a lot of fantastic people spend a lot of time making that happen.

So let's take and have them run all the colors across the screen that you'd need to do this painting with me.

I've already covered the canvas with a thin, even coat of the liquid white.

It's wet and ready to go, so let's get started.

I'm going to go right down here, and we'll start with the old two inch brush.

I'm going to go right into a little Indian yellow and a little bright red, and just mix them together.

Right there, just like so.

Okay, let's go up here.

Now, I want some happy little things happening up here in the sky, So we'll bring this around and just back and forth and sort of let it go like that.

Now this will not be an exact duplicate because you can't ever paint the same exact picture twice.

But it'll show you how the painting was made and you can make your own at home.

We'll put a little bit down here.

I know there's going to be some water down here.

Okay, now I'm going to mix up a little lavender color.

So for that, we use crimson and a little bit of the blue.

Much, much, much more crimson than blue.

Much more crimson than blue.

The blue is a hundred times stronger than the crimson.

Now if you really want to test it, take a little white, put it there.

Mmm, okay, that's good enough.

Let me clean my knife.

Without cleaning the brush, I'll go right into a little bit of this lavender color.

Okay, let's go up here.

Now here and there, I'm going to just add a little bit of that.

Just a little here and there.

This sort of acts as a barrier between these colors.

Just a little bit here and there.

Okay, just let your brush gently, gently graze the canvas.

There we are.

Without cleaning the brush, I'm going to go right into a little bit of the midnight black, and a tiny touch of Prussian blue.

Back and forth, back and forth.

All right, let's go up here.

Now with that, still just barely grazing the canvas, we'll just sort of fill this in a little.

All right, all right, maybe right here, a little bit in there.

Just take it right on out a little bit right there.

Okay, now we can clean the brush.

Clean the brush, here we go.

There's a screen in the bottom of this can that I scrub the brush against.

That keeps the solid materials at the bottom.

[laughs] And that's the fun part.

All right, now with this clean, dry brush, now be sure it's dry, go back up in here and you can blend all this together.

Boy, this is one bright sky.

There we go.

Any of the paintings that we've done in this series, if you want to tone them down, please, please feel free.

Sometimes I make them a little brighter than they normally would be just so they stand out well on your set, because everybody's TV is adjusted a little bit different.

And you can blend this to any degree of smoothness that you want or you can leave it.

I'm going to just take it to about there.

Okay, now then.

Now then, I think there was a little mountain back there.

I'll just use a little of the blue and the black just like so.

Cut off a little bit, a tiny little roll of paint.

There it is, a little tiny bit.

And it lives, it does now anyway, right about here.

It's interesting, I have to tell you about this painting.

I did this painting when I did a live demonstration in Boston at Merrimack College for several hundred fantastic people, and then the PBS station in Boston auctioned this painting off.

I was so impressed with it, that I decided to use it in this series.

I really, really did like this painting.

We travel all over the country doing demonstrations for PBS stations and educational stations to try to help them make a happy buck or two.

Okay, let's do a big mountain in here.

Let's go into some black.

We'll some of that same old purplish color we had, black and purple.

Put a little Van Dyke brown into it.

The main thing is that it's dark.

Cut off a hunk of paint there, a little roll.

There you can see it.

Let's go back up here.

Now, begin laying in your basic, basic mountain shape here.

It comes right down like that.

Just drop it in, drop it in.

You know since this painting originated in Boston I want to dedicate it to some fantastic friends that I have there, to all the people who came to watch the show, and it made me feel at home.

Some of the nicest people in the world there and to all of you, thank you very much.

It really did make me feel at home, and I'd like to come back and paint again for you someday.

Okay, now to our big brush.

Pull that down.

Put that down, down, down.

Just let it blend out.

Let it blend out.

This is a fun painting.

This is one that'll just give you a little challenge but it's fun.

Here we're just blending this color right out so it just disappears.

Now today, today we're going to do something a little bit different than I normally do.

I'm going to put the shadows in first.

So I'm going to take some white.

I'm going to take some of that... this is some of that lavender color that we used and I'm going to add a little blue to that.

Very colorful little painting, like so.

Cut off a tiny little bit.

Okay, let's go up here.

Now right here maybe lives a little shadow.

[Bob makes "tchoom" sound] Just let him... Tell you what, that knife's a little big.

Let me get my small knife.

It really...

There, see, it gets in there a little easier.

It gets in there so much easier.

And then we can just, just put in some very basic little ideas.

And I'm going to take some red, take some red... and I'm going to take some red and use some of that lavender right into it, a little yellow ochre, like that.

I don't want to over mix.

Cut off a little bit.

Let's go right up here.

Way back here.

Barely, barely touching.

I'm going to add a little more ochre to that so it stands out a little more.

You can see it a little better at home.

There.

Okay, maybe there's a little bit that lives right there.

Just let that play right down through there.

Okay, mix up a little more color here.

I'm going to add some of the dark sienna in there.

Cut off a little bit.

Just begin working back and forth with some of these beautiful little colors.

Just let them play.

There's some that's a little bit lighter.

See how they just sort of blend together and all those pretty little things happen.

Right up through here.

There it comes right down, over, under, wherever.

Just let them happen.

Let them happen.

There we go.

Tell you what, maybe this could use some dark color here first.

There was a bump that lived right out here.

You need that dark color so the light will show when we put it on.

Add onto that.

Just go right in there.

Add a few of these little things, and let them begin flowing down.

See there?

Now, now we need to go back and let's see here, a little blue, a little purplish color.

A little white, a little more blue.

There we go, there we go.

And don't over mix it.

Leave it about like that.

Cut you off a little bit.

Just go right up here, and we can go right in here, put the indication of some happy little shadows that live there.

Maybe that can come straight down.

Just see this little knife works very well for getting into these small tight areas.

That's another piece of equipment that sort of developed from a lot of people writing and asking for it.

Just here and there, okay.

Now with a clean, dry two inch brush, I'm going to gently, gently begin tapping that.

Just tap it, tap it, tap it, tap it.

Pick up a little of that color and bring it down.

And follow these angles.

These angles are what are very important.

Very important.

See it helps create many, many different layers in this painting.

Now then, I want to put some sparkle on it.

So I'm going to take just some titanium white and let's go up in here and barely touch, and let this flow right down into the misty area.

We'll just put some sparkle on there.

There it comes right around, drops down through there.

There we go, there we go.

And right there.

Mm, boy that really makes it stand out, doesn't it?

There we go.

Now back to our clean, dry brush.

And I'm going to very lightly tap and just sort of lift upward here and there.

Just like that, just like that.

Don't want to overkill.

Blend it out.

Now then, back to the black and blue.

And I want a little shadow back in here, a little shadow.

And maybe some of these little things just sort of spill over a little bit into it like that.

Now for the big brush, I'm going to tap that shadow.

I'm going to tap it, pick up a little of that color, and I'm going to bring this right around.

See here?

See now you've created a little doer that comes all the way around there like that.

Look at that, just let it go.

Look at that.

And you can make plane after plane after plane in your painting.

Okay, let me clean that brush so it's nice and clean.

Then we can create a nice misty effect.

[laughs] Got that cameraman again.

He's going to get me when this is over.

There.

That just removes excess paint when I tap it like that.

Okay.

Now I'll just blend it a little bit so it creates the illusion of mist.

We don't care where this goes right here.

Now then, that gives us a general idea of how that mountain was made.

Okay, let's go into a little bit of the blue, a little blue, a little blue.

Tap a little of that in.

Okay, let's go back up here.

Now if we're going to have water down here, let's begin dropping in some little indications.

See I put that little tiny bit of yellow.

Now where the blue hits that, it's going to turn slightly greenish, which is nice.

Sometimes we, we fight to keep that from happening.

Today, today I'm going to use that.

See there?

But I don't want to kill all that.

There we go, there we go.

And I'm leaving a few little areas open.

All right, okay.

I'll wash this brush one more time.

That's really the most fun part of this whole technique.

It gets out all your frustrations and hostilities.

Now if you're going to do this in your living room, I really [chuckles], I really suggest you get a brush beater rack, and that fits in the bottom of a wastepaper can, and it'll contain this.

Otherwise, [chuckles] somebody's going to be awful upset when you cover the whole living room.

All right, I'll get the big old round brush here.

I'm going right back into that nice lavender color we made earlier.

Just tap it in there.

This was Alizarin crimson and Prussian blue.

Let's go back up here.

And I want to drop in a little indication of some trees that live way back here in the distance.

There they go, there they go.

Just a few of those.

And we'll drop a little bit of it right down in here.

I don't want to lose all that nice light area, but a little just so we have some nice little reflections.

With a large brush we can grab that now, pull it down, just pull down.

Because the canvas is wet, that easy we create the illusion of reflections.

And we still have that little glow in there.

Okay, I'm going to go into the least little touch of green and yellow.

I haven't even cleaned the brush.

Just tap the tiniest little bit of that in there.

I want just a tiny, tiny little indication that there's some leaves on these trees back here.

They're too far away.

I don't want to ruin the illusion of distance with detail.

There we go.

A little sun's playing through there.

There we are.

Now then, as they get a little closer, then you can add a little bit more detail.

Maybe there's one that lives right here, and comes right down.

Yep, there it is.

See, maybe over here, there is one.

See and you can create all different planes in your painting.

And go back to this brush, grab a little touch of that, pull it down, pull it down, pull it down, pull it down, pull it down, pull it down.

And that becomes part of the reflections.

There we are.

Okay, now I'll take my knife, a little bit of the liquid white, and to that I'm going to put a little touch of blue.

A little touch, cut cross it, let's go up here.

Just give the indication of some happy little water lines that live right there.

There they go, that simple.

This a very thin paint, that's almost like water, and it'll flow right on top of that thicker paint that's on the canvas.

Golden rule, a thin paint will stick to a thick paint.

Okay, and you can take some that's just pure white and even highlight it a little more if you wanted to.

See how that sets all that back?

There we go.

A little bit right in.

Keep these lines basically straight or your, or your water will run right out of the painting and get your floor wet, and then you'll be upset with me.

Let's take some brown, some dark sienna, just some of these good, dark colors here.

Let's go right up here.

Now I think, I think, I think right here, yep, we'll have a happy little tree.

It looks like a happy big tree.

Boy, [chuckles] that son of a gun's growing on us.

Lookie it there.

Just bring him right on out.

There we go.

A little bit more color and there was a big tree that lived right here.

Just let him work right off your brush, but give him some arms.

He needs some arms.

A tree needs some arms.

He's going to reach out and gather up the sun, become big and strong.

Give him a big, strong arm.

There we go.

And we don't care if some of this pops down into the water because we'll turn that into reflections.

And as we know, reflections are one of the nicest, easiest things there are to do in this technique.

Okay, start here and we'll just let this run right on up.

It gets lighter and lighter and lighter and lighter and lighter and lighter.

See, I want it to be darker at the bottom because that's where the biggest shadows are.

They hide down at the bottom of the trees and the bushes.

Okay, adding some more browns, a little black, whatever.

Add some sap green to that.

This comes right over, right on down.

Once again we don't care if it goes into the water because that's all going to be reflections.

No big deal.

We depend on it.

There we go, okay.

Now let's turn that into some happy, little reflections.

Look here, [Bob makes "bloop, bloop" sounds] just pull that down.

[chuckles] It's that fantastic?

Look at that, look at that.

There it comes.

Okay, we don't make any mistakes.

We have happy accidents.

There we go.

Boy, I sure wished that line had worked when I was a kid with my mother.

She used to spank me for them happy accidents.

All right, going into some brown.

And when she hears this, she's going to spank me again.

All right, right up here, let's put a trunk in this tree.

[Bob makes "zzooom" sound] Give him a little curve.

[Bob makes "bloop" sound] There he is, there he is, there he is.

Maybe just an indication over here.

[Bob makes "shooo" sound] We don't know how many trunks there.

We don't care, just a few right in there.

All right, I'll take the knife.

Add a little more red to that color.

This is red and brown and a little white.

There, cut across it.

Let's go right up here.

We'll put some happy little highlights right here on this tree, just like so.

This is almost straight white now.

Just want to put an edge on it so it stands out a little bit better.

Just let that knife touch it, bounce, play.

Now then I'm going to go into a little bit of the liquid black, and put some on my palette.

That's easier.

A little bit of paint thinner.

Now it's even thinner than it was.

This is like water.

Turning that brush, bring it to a point.

Let's go up here and put a few little trunk indications, or limb indications.

I got the trunk already.

[chuckles] Don't laugh, you'll get old and make mistakes one day like I do.

It happens to the best of us.

There we go, just a few little indications.

There we are.

Now I'll clean that brush and go right into a little bit of the liquid white and just put some, see, now they stand out but now you can really see them.

Isn't it a super way to put a bunch of little branches and stuff on a tree?

It's pretty.

Okay, now that brush is dirty.

Let me get one that's clean.

I'll go right into a little bit of the cad yellow and the yellow ochre, some bright red, tap this.

Okay, let's go up here.

Now then, let's put some happy little things that are happening, ooh, right up there.

Right up on that tree.

See them?

That's how those were made.

Just drop them in.

Put a little bit of the liquid white on my brush.

Thin that paint doesn't want to stick to ... oh, there we go.

That's what we're looking for.

See, if it doesn't stick, add a little of the liquid white or a little tiny bit of thinner and then, then it drops right in there.

Maybe while I got that going, I'll just put a few happy little indications over here.

I'm not looking for detail on this side, just a few little indications.

Good, that's enough.

Let's, let's get down here, let me grab a one inch brush.

I'm going to go into a little bit of the liquid white.

Go right through some yellow, some yellow, yellow, yellow, sap green, pull that brush in one direction.

Load it full.

Right, let's go up here.

Now then, maybe there's a happy little thing that lives right there.

See, there he comes.

There he comes, just drop him in.

Work in layers, work in layers.

Put a little yellow ochre with the color to make it, oh, look at that sparkle.

I get excited sometime.

I've watched this over and over and it still fascinates me.

Now, I want an evergreen in this.

I'm going to take some brown and some black, some green, just load that brush full.

I know I'm jumping all over the palette here.

Let's go up to the canvas.

There is a happy evergreen that lives, lives right there.

And just push him right out of your brush.

There he is.

And we don't want him to get lonely.

We'll give him a little friend.

This is Charlie.

This is Charlie.

Okay, I'll just use the same old brush and go into a little bit of lighter green color, and put the indication of a few little highlights.

And we'll do Charlie here.

Okay, now.

Now then.

Back into my one inch brush.

And let's put some, let's put some happy little things over on this side.

We don't want it to be left out.

You can do this with a one inch brush.

A round brush works quite nice.

It's not as fast, but it does work very well when you're at home practicing, play with it a little bit.

You'll enjoy it.

There we go.

All kinds of things, so just layer these, just drop them in.

Tell you what, I want, I want some stones in there.

We had some stones in that so I'll just use some of the browns and let's go right in here.

[Bob makes "Bloop, bloop" sounds] Make little sounds, it helps, [chuckles] it helps.

Just drop them in.

A big stone right there.

However many, there we go, there is a nice little stone.

It comes right down, a little bit of land area.

We'll use some of this for some highlight.

This is just the same thing I was using on the tree.

There we go and it comes out across here and down.

Just make all kinds of little stones, and pretty little things happen, like so.

Now back into our liquid white we had on the palette, I'm going to put a little water line.

This cleans it all up.

Just let that run right down through there.

See there.

We'll bring this.

It came right out about like that.

Yeah, that was the way it's been.

Okay, back to my one inch brush.

I'm going into a little bit of yellows and greens.

Okay, so then we can pop in some happy little leaves here, all kinds of little things that are happening.

Let them go, let them go.

There.

Now then.

Now then, we want to put... We had a couple of big old trees in that rascal so let's do that again.

I'm going to get my fan brush, take the old fan, go right into the Van Dyke brown, load it full, decide where your tree lives, make a big decision and [Bob makes "zzzzoom" sound] drop it in.

Drop it in.

It's your world so you put your tree wherever you want it.

Okay, there was two trees.

So, oh, right through my mountain.

[Bob makes funny sound ] Got him.

Got him.

There's that big old tree.

This is just Van Dyke brown.

Okay, now then, with a knife we'll just use that same old highlight color.

See, right there?

It's working so well.

And I'll just use that.

Just barely, barely touching it.

Let it sort of bounce around.

It'll grab what it wants.

Put the indication of some highlights right on this tree like that.

A little bit on this one back here.

Don't want him to be left out.

See there, see there, there it goes.

There it goes.

You know I'd love to hear from you.

If you have time, drop me a line.

Let me know which paintings you like, which paintings you don't like.

I'd really, really enjoy hearing.

A little bit of blue on this side just to indicate a little reflected light here and there.

There we go, just a little touch.

Okay, now I'm going to go back into the liquid black and a little paint thinner, and we'll put a few happy little, little limbs out here.

[Bob makes "tzzoom" sound] Just let them drop off there.

However many you want.

And these are fun, these are a lot of fun.

Okay, we'll just put the indication here and there of a few.

There we go, there we go.

And in your tree, you decide how many leaves and how many limbs it has.

Okay, and you can highlight those also with a little bit of the white.

Wherever.

A few little hangy downs here and there.

I think if we put a few little highlights on that, little leaves, we'd have a finished painting.

The old clock on the wall's telling me I've got to get out of here for the day.

So I'll leave you putting a few leaves on with a two inch brush, just tapping.

I hope this has showed you how the little animated painting has worked.

I hope all my friends in Boston enjoyed it, and I look forward to seeing you again next time.

Until then from all of us here, happy painting, God bless.

We'll see you again.

[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]