[Music] Hi, welcome back.

Once again, I'm certainly glad you could join us.

And today, I thought we'd do the little painting that you see at the opening where the little character throws the brush and everything.

So I tell you what, 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 done up here.

Have our standard old pre-stretched canvas.

And I've taken a little black gesso and just took a little sponge and just sort of tapped in some basic little shapes.

That's really all you have to do is just take a sponge and sort of tap here and there.

I've let that dry totally, then I've covered all the black area here with liquid clear, and on top of that, just a little bit of sap green mixed with a little Van Dyke brown.

The browns are just to dull the green down a little.

The top is the liquid white, as usual.

And with that, we're gonna do that little painting.

So let's start out today, take a little bit of phthalo blue, just a very small amount on the old two-inch brush.

And I'll reach up here, be right back, and get a little bit of black.

So we have blue and black, or black and blue.

Whatever your preference.

There, let's go up in here.

And we'll just put in just a little sky back in here.

This is just phthalo blue and midnight black.

There we go.

And you determine if you want it to be more to the dark side or the blue side.

It's up to you, up to you.

There, and we'll just sort of let it just come right over these, we don't care.

But both of these colors are very transparent, so the black gesso will still show through, which is exactly what we want it to do in this particular painting.

A little more black, a little more blue.

There we are.

And we'll just put that in using little crisscross strokes or little x's, whatever you want to call them, whatever.

There, okay.

As I mentioned [chuckles] earlier,that's the way the teacher used to grade my paper when I was in school, she'd just go through it and go x, x, x, x, x, x.

That's how I learned to do this.

There, [chuckles] all right.

Okay, and that's basically all we need for a little background sky.

Now then, we had some little trees in the background, and that's what this is for.

So let's make those out of a, let's use a little black, a little phthalo blue, and I'll get a little touch of the alizarin crimson.

And we'll just sort of mix them together.

Let me, let me get a little more crimson.

So it's sort of a lavender color to the blue side.

All right, tap a little color on there.

And up in here, let's just go with the corner of the brush and put in some very basic little shapes of some little tree things that live back in here.

And all we're looking for is very basic little shapes.

We're not looking for detail at this point.

The detail, that'll come later.

Right now, just little things that live back here in the shadows.

There.

Okay, there's some more.

And if you don't hit everything, it doesn't matter because all the black gesso that you put on is back there, and it will make it look just like there's beautiful things happening also.

Allow that black gesso to work for you.

It's one of the neatest things in the art world.

There.

A little bit right in here.

Okay, maybe, maybe right here, we'll just have another little doer.

Now, these little light spots are just where the sap green and the Van Dyke brown came up and touched the liquid white, and that happens automatically.

And I want to save those, those are very special.

They're, they're beautiful.

Okay?

Now on the other side, over here, grab a little more of the color.

Let's have a little tree right here.

But all we're doing is just using the corner of the brush and tapping, just tapping.

All right.

Now then.

I'm going to take a little bit of the liquid white, put it out, grab a little touch of dark sienna, put it right in there with it.

So we have dark sienna and liquid white.

Well, all we've done is made a very thin brown.

Let me wipe the knife.

And I find my little liner brush here.

I'm going to take it, put a little paint thinner on it.

We'll go through Van Dyke brown first and load it full of Van Dyke brown, and then I'm going to just pull one side through the thin color, now watch.

We can make a little tree trunk back here for this tree that has both the highlight and the shadow at one time.

[chuckles] Lazy man's lifesaver right here.

And we'll make another one right there, wherever you want them.

But this is one of the neatest ways going of making little tree trunks.

And maybe here and there you can make out a little limb.

We're going to put a few leaves on there, so we won't see much of this.

There.

Okay, now then, let's just see if the old brush we were using with the dark on it will work.

I want to taint this a little bit anyway with color.

So I'll just use an old dirty brush and tap right into some titanium white, just a little.

And I just want to use that then to sort of highlight some of these.

I think those little bushes were highlighted like that in that other one.

That little opening, isn't that the cutest little thing?

I like that.

That's our Little Painter Man.

That's what we call him, the Little Painter Man.

There, and that idea was devised and put together by a very good friend and one of the engineers here at the station by the name of Jerry Morton.

And thanks, Jer, that was a good one, I enjoyed it.

There.

Okay.

A little bit up in here.

And off we go, see?

All I want is just a few little indications back here.

Because I remember there was big evergreens in here.

So we're going to cover up a great deal of this.

We're not, not too concerned.

We just want to make sure that if any of it shows through, there's a little color on it.

There.

See, just all kinds of little doers in there.

Wherever.

Can't really tell.

Even the things that are just black gesso, like right in there, you can highlight those, too.

Okay, and let's go over to this one old tree over here.

There he is, give him some nice highlights, too.

We don't want him left out.

Just use the corners.

Just the corners, all it takes.

Okay, there we are.

Now then, I'm going to take that same old brush and I'm going to go into a little touch of the yellow, let me grab a little more black.

So we have yellow and black, which makes a beautiful, beautiful green color.

Just tap a little of that into the bristles.

Maybe a little yellow ochre, too.

Ooh, that's it, that's it, there we go.

Now back in here, we're beginning to see a little bit of color, just a little color.

Just going to use the corner of the brush still.

And we're going to begin putting in the indication of some little bushes that we can see in here.

There they are, just here and there.

A little more of the yellow ochre, Indian yellow.

There, there's one, ooh, isn't that beautiful?

Look at that little rascal shine out there in the sun.

See, and by changing the angle, you can make those little devils hang over and be lazy or whatever, whatever.

Use your own imagination.

Just a touch of the bright red here and there just to change the flavor, not much.

Not much, boy, look at there.

Just enough to make it a little more interesting.

We'll do one little bush at a time.

One little bush at a time.

Let's go on the other side over here.

Put one right there, okay?

Something about like that.

Now, with our liner brush, with the old liner brush, a little bit of that dark color that we were using.

And let's just put here and there some nice little trunks and sticks and twigs and some little things that you might see.

There.

Sometimes you can see them right through some of the branches like this where there's something growing up through there.

And it makes your painting a little more interesting.

There.

Just wherever.

Because there's always little sticks and twigs out in the woods like that.

Now then, let's find us a fan brush and mix up a big old gob of color.

Let me clean off a spot to work in here.

Let's take, I want to use phthalo green today.

Phthalo green, Prussian blue, black.

[chuckles] A lot of color.

Crimson, maybe even some Van Dyke brown, who cares?

As long as it's dark.

And I want the phthalo green in there because that green will take over.

It'll, everything that comes out of this pile will have that greenish hue to it, that phthalo green hue.

Let me wipe the old knife.

And we just wipe our knife on, we got some paper towels down here we wipe it on.

All right, let's take the old fan brush.

Maybe in our world, there lives some trees, I think there were some evergreen trees.

Oh, here goes our beautiful little tree right there.

Right over the top of that.

I'm going to push upward today.

Touch with the corner of the brush and give it an upward push.

Or as my son Steve says, if you've watched him on some of the shows, he says "moosh it", give it an upward moosh, just push it.

There, very dark though, very, very dark.

Okay, there's a tree.

And I think there was a big one that went clean off the canvas right there.

So push upward, and there we go.

Great big old tree.

Big old tree.

And just work down, down, down.

And you push harder and harder as you work down the tree.

Just really get in there and push.

Down here we don't care.

We'll separate all of this with highlights.

You could put this part on with a [chuckles] paint roller.

Another tree, maybe he lives right there.

And the same thing, give it a little upward push.

Upward push, big, strong tree.

It goes right on off the canvas.

And sometimes it's neat to leave a little piece of the trunk showing.

We'll do that, how's that?

A little naked spot.

There.

Now sometimes in some parts of the country, the limbs hang down on evergreens.

In other parts of the country, they go up.

Or like when I lived in Alaska, you can go some places they hang down, some places, they go up.

Maybe it just depends on how they felt that day.

Actually, I think it has something to do with the amount of water and cold and everything.

But who knows?

I don't try to understand everything in nature, I just look at it and enjoy it.

Just a little light striking the trunk right there where it's going to show like that.

Okay, I have several little fan brushes going.

Let's take some yellow and some of that same color we used to make the tree.

Maybe I'll reach up here, be right back, and get a little black, want to dull it.

There, good, good.

Very good, black and yellow make a beautiful green.

Now then, sometimes even a little brown.

Ooh, that, yeah, that dulls it down even more.

Okay, now we can go up in here and just begin placing a few little highlights on some of these trees.

Once again, we're still pushing upward, though.

This is where you separate them.

And put all the little arms on them.

Look at that, isn't he a cute little rascal?

This is my little friend Clyde here.

I give them names, shoot.

People look at you like you're a little weird, but you know, painters are expected to be a little different.

A little different, and that's all right.

That's all right, huh?

Always been a little weird, so no big deal.

Everybody who knows me expects that.

There.

Okay, just right on down.

But think about shape and form and how you want the limbs to look.

Because this is where we separate all them little rascals.

And darker, darker, darker, down here.

And if you don't add any more paint, that will happen automatically.

Automatically because you're running out of color and you're picking up the dark color that's on the canvas automatically.

If you allow it to happen, it'll get darker and darker as it works down.

There, there's another one.

Look at all them rascals though.

You can just make as many or as few as you want here, it's up to you.

Now then.

Let's find another brush here.

I'm going to take a little bit of that same greenish color and a little yellow ochre, Indian yellow.

Put them all together, give it a little tap.

Push that brush, see?

Creates that little ridge.

All right, let's go up here.

Now then, back in here we had a little grass, a little soft grassy area, so just take the brush and begin tapping.

Just begin tapping, let this begin working together.

Think about the lay of the land now.

It's very important that you begin thinking about that.

There.

See, by changing the flavor a little bit, you can see the different planes.

All you have to do is add another color.

There.

Think about where the light would play through here.

Just look at there, you could walk right on back in there now.

Good place to walk back there.

Also good place for a little mosquito to hide.

I'll bet you'd [chuckles] catch a mosquito in there.

There we are.

I live in Florida, and so do half the mosquitoes in the world, I think.

We have our fair share.

I tell you, we had a little cabin right in there, so let's do that, I think.

I think that's fun.

We have a lot of paint here, so let's take and just scrape out a basic shape.

And this is great because you're not committed at this point.

You can just play and piddle all you want.

It allows you to lay out your whole little cabin.

We had a log cabin, I think.

But you can lay it all out without really being committed this way.

But most important, it removes all this excess paint.

We have a lot of paint back here now.

Several layers, just want to get that out of there.

I'm going to take, we'll start with Van Dyke brown.

Just plain old Van Dyke brown.

Or another fantastic way to make brown, and I use this very often when I'm painting at home, is take alizarin crimson and mix it with sap green.

It makes one of the most beautiful browns that you've ever seen.

A very good friend that I used to paint with turned me onto that, Audrey Golden, who's one of our instructors down around Fort Lauderdale.

But she used to use that, and I painted with her when I first started, and sort of picked it up.

But it's very nice.

And then you can take alizarin crimson and phthalo green, and it makes a beautiful black.

Beautiful black.

There, okay, all I did is block that in with some dark color.

We had shingles on the roof.

For that take white, midnight black.

We'll just mix it together and make sort of a gray color.

Let me wipe the knife.

Now for that, I'm going to use the small edge of the knife.

And we start, and we just start pulling.

Just like so, see?

And start at the bottom and work upward.

And that way, they overlap and it looks like real shingles.

Of course in my younger day, I was a carpenter and I've put on a lot of shingles.

And I tell you what, as they say in the south, it ain't this easy.

[chuckles] My father was a contractor, so I grew up as a carpenter.

And he taught me how to build things.

Whoops, let's put one right there at the peak and we'll come right down.

There.

Okay, now in here, we had it like a, like an old log cabin, we'll take white, a little dark sienna, mix it together, maybe even throw in a little Van Dyke in there just to, yeah, change the flavor.

But don't over mix, leave it all like that.

A little roll of paint.

And just take, figure out where you want the little cabin, little logs to be, touch, give a pull.

Little sidewards pull.

See there, little sidewards pull, that's all there is to it.

Let the knife work.

There.

Okay, now we'll come back with a little brown, and we just cut them off wherever we want it, there.

Now down this side, logs go like that.

Just put them in.

This is a very, very simple and effective way of making a little cabin that looks like a log cabin without going to a great deal of work.

Little of the van dyke brown just to put in between.

And that sort of finishes the edges up and makes it look like there's mud laid in between there like there is in a log cabin.

Okay, I'm going to take the brown.

Much darker for this side, not as much light's going to strike.

Still too light, want it even darker.

A little black in there.

That's better, yes.

Want it to stay very dark on this side.

Just enough so you can make out there's something happening over there.

And then let's take, let's take the knife, let's put a window here, [Bob makes "zoop" sound], just scrape it in.

Maybe another one right there.

We can take straight Van Dyke brown, [Bob makes "soop" sound] give us a door, we got a door.

We can get in and out of this cabin.

There we are.

Maybe a little touch of phthalo blue or Prussian blue, it doesn't matter.

Just pull it down there, makes it look like there's maybe some little bit of glass in there reflecting.

A little bit of gray on the knife.

We can go around and sort of outline the doors and the windows.

There we are.

And I usually take the point of the knife with a little paint on it and just do like that, sort of makes it look like the end of a log.

There.

And you can take a little highlight color and just highlight those little ends a little bit if you want to just to make them sort of stand out.

Sneaky, huh?

All right, let's go back to our brush.

Wipe off that excess.

Go back to our brush that had the lawn color on it.

[chuckles] This is our lawn out here.

And let's begin tapping in indication of some little grassy areas that live out in here.

Look at that, see?

There comes another one.

All right, okay.

Maybe there's, yeah.

A little bush, he lives right there.

Just a little bush.

Here's another one, this one hangs right over the edge of the cabin.

You're not careful, it's going to take over the whole world.

Maybe, yeah, we'll have a bigger one sitting right out here on the edge.

He's watching everything.

But make up little stories about your plants and think about the little creatures that would live in here.

There's probably all kinds of little squirrels and rabbits.

Just a multitude of things that you may never see, but they're here, they're here.

I'm going to take a touch of that just brown and white or gray and white, whatever.

And let's put the indication here of maybe there's a little path that flows right out of that cabin.

Just comes right out.

And we can take and clean up the edges of that path a little with the brush.

And off we go.

Now, now, now, now, watch here, this is the fun part.

[chuckles] Let's take, let's just take pure titanium white.

This is the fun part, watch here.

Just pull straight down.

And because we have color underneath, that sap green and Van Dyke brown, we'll have instant water here.

Just instant.

Pull it straight down, straight down, and then go across, just enough to ripple it a little.

Just something like so.

And we can give him a little pond right out here in front of his house.

Just a little pond.

Take a little of the Van Dyke, dark sienna mixed together.

And let's put some banks out here.

[Bob makes "tchoom" sound] Little places, got a little beaver maybe lives in here.

He's gotta have a little place to stand.

There we go, goes right on around somewhere in here, something like that.

You know, wherever, wherever.

A little touch of brown and white.

And here and there, indication of a little highlight.

Think about angles though, most important.

Most important here.

There.

Just a few little things, don't want too much.

Tell you what let's do, tell you what let's do.

Let's take some liquid white, put it out here, some dark sienna and Van Dyke brown mixed with it.

There.

And let's get our old filbert brush.

I like to make rocks with the old filbert brush.

That works so well.

So well.

Let's go right into Van Dyke brown and dark sienna, just mix them together like that.

Like so, both sides.

Then we go over to the thin paint and just pull one side through.

So we got dark on one side and light on the other.

Now then, touch, and that quick, you can make the indication of a lot of little happy stones that live right out here in the edge of the water.

Wherever you want them.

And as many or as few as you want.

Okay, maybe over in here there's some.

Let's see, okay, just sort of pick around, pick out the ones that you like.

Maybe there's even a few out in the water, who knows?

Who knows?

If you put them out in the water, grab the bottom of them, pull down with a little fan brush or something.

And then go across, that way, there'll be a reflection under the stones, too.

Just pull straight down and go across, just a little.

Just catch the bottom of them, pull them across and down.

Now then, we can take a little bit of liquid white, I'll put a little gray in it.

Some of that black and white, a little bit of black in there because I want a gray color for this.

But it's thin paint.

And we can come in here and just add just a few little water lines along in here.

Something like so.

Wherever we want them.

There they are.

See there, though?

And these water lines, they'll sort of clean up the bottom of your stones and your land and bring it all together.

And it really, really adds a little finishing touch to your painting.

There.

Okay, don't want this little stone left out.

Give him a little ripple, too.

And on the other side, same thing.

Same thing over here.

Just give a little ripple here and there.

Now we can take a fan brush here, and I have one that has a little green on it, yellow ochre, Indian yellow.

A little bright red maybe once in a while.

And we can push in a few little, little happy grassy things that come right down and bring all that together, so the land area is just not a straight line across there.

That sort of bothers me when it's just straight.

So by pushing upward with the corner of the fan brush, you can create all these little bushes here.

Shoot, I tell you what, let's take the liner brush, a little bit of bright red, thin it down.

And let's sign this little rascal.

Hope you've enjoyed this one.

This will show you how the little opening was made.

There, and with that, we're going to call this painting finished.

And from all of us here, we'd like to wish you happy painting and look forward to seeing you next time.

Until then, God bless.