- son of a gun. can you believe it? here we are on the lastshow of the series. you know, when we did thefirst series, at the end of it, we had my son, steve, comein and read us some questions and we devoted the whole show to a question and answer period. in that show we tried to show people the way to correct themost common problem areas. so i thought we'd do that again today
only this time i'm gonna take life easy. i'm gonna read the questions and i'm gonna make my son, steve, paint. so, i'd like to introduceyou today to my son, steve. steve, glad to have you with us. - well, thank, dad. - okay, let's get right in here and maybe we can get started. first question. dear bob,
what is meant by, use crisscross strokes to make the sky? do you use criss cross strokesto make the water also? okay, well let's just goright up here in the canvas and i'll try to show you. okay, steve. load a littleblue into your brush. what do you got there.a little phthalo blue? - pthalo blue. - okay. now, let's goright up to the canvas. there we go.
and as you notice, he'susing both sides of the brush and he's just making littlexs, just back and forth. by using both sides of the brush we assure an even distribution of color. the canvas has already been covered with magic white. so it's picking that up and automatically as it goes down toward the horizon it gets lighter in value.
now steve, the otherpart of the question is, do you use criss crossstrokes to make the water? no, we do not. there we use strokes that come from the outside in. steve, why don't we make alittle bit of water there? just come from the outside in and... okay, he's gonna add a little bit of pthalo green to hiscolor. just a tiny bit. now, pull from theoutside in. there we go.
we want water to be levelif it's still water. so by coming from the outsidein that happens automatically. and if you'll leave a littlearea open in the center when he pulls from the other side, when the paintings finishedthat'll look like a sheen of light going across the water. now, steve, why don't youtake a clean brush and just blend all that together for usand we'll see how that looks. okay, not he's justusing a clean, dry brush,
still using the little criss cross strokes and blending the sky together. and you can blend it to anydegree that you want now. when you're doing thisat home, you don't want kill all the little actionsthat happen up here in the sky, just blend it to about like he has it now. on the water, all we do is take and use very long strokes and go allthe way across it, just gently. we don't want to lose thatlight area in the center,
but you can bring it together. that's it. see how that's coming right together? okay. well let's go right along here and go to the next question. also, if there's any questions that we don't answer during this show, drop us a line and we'llbe glad to try to answer almost any question thatyou can come up with, as long as it's not too personal.
dear bob, how do you make those fluffy little clouds using the fan brush? those really are nice clouds. let's see if we can get steveto demonstrate once again how to make some clouds. so steve, why don't youload your fan brush, hold our palette overhere so we can see it, and let's just load it full of... there you are.
see how full he's getting this? a lot of titanium white. okay, good. now... use just the corner of the brush. there. see how he's using just the corner? and all you're worriedabout is the nice tops. steve, why don't you putone more little cloud over here on the right side? clouds need friends too.
and all you're looking for isa basic shape at this period. don't worry about it too much. okay, now, with a large brush, we can just blend the bottomof it out a little bit. there. just the corner of the brush, don't use too much of the brush, and you make little tinycircles. little tiny circles. then fluff it up and hypnotize it. see how simple that is?
okay, let's do the other one here. using just the corner of thebrush, little tiny circles. just blend the bottom of it out. okay, now fluff it up and hypnotize it. there. super, steve, thank you. all right, let's see here. what's... oh, we're not gonna readthat one on tv, we'll just... we'll set it aside and go on. dear bob, i'm having trouble putting
the snow on the mountains.can you help me? this is probably the mostcommon problem we run into. probably the biggest mistakemade is applying too much pressure when you're puttingthe snow on the mountain. so maybe we can go backto the canvas and get steve to drop us a littlebasic mountain shape on here and we can actually see thehighlight happening close up. steve, what color did you use there to make your basic mountain?
- blue, brown, and alizarin crimson. - okay, there we go. and you use very, very firm pressure when you're putting this basic shape on. really, really push it into the fabric. and all you're worried aboutis just a nice top edge. you could care less what'shappening underneath. okay, now, let's take the big brush and we can just blend that right out.
okay, what steve's doing there is scraping all the excess paint off. the less paint you have, the better. now we're just pulling that mountain out. this does two things when you pull it out, it removes more of the excess paint and makes the next step easier, and it allows the mountainto blend as it goes down. mountains are alwaysmore distinct at the top
then they are at the bottom. if you can see the entire mountain. good. okay, let's use a littletitanium white there, steve and i think that willshow up contrast better. okay, turn your knife over and let us take a close look at it here. let's see what you have in way of paint. sort of rotate it a littlebit so we can see it good. see, it has just a littlepaint right on the edge there.
okay, now, just barely touch. here's where the problem happens. people use too much pressure.use absolutely no pressure. all it is, is just theweight of the knife. in your mind think where lightwould strike the mountain. there. it looks likehe's gonna have a little peak back in the background. this one's gonna come all the way through. there you go. we'll have somecharacter in this mountain.
while steve's doing that,i'll tell you a little bit about him, because i don'tthink he'll tell you. steve's 18 years old, he travels all around the country with me teaching this fantasticmethod of painting. he's also a black belt in karate. it's good to have someprotection with you. okay, now he's mixing up a shadow color. he's using a little bit of blue and white,
just prussian blue and white. now one of the big things here when you start doing your mountains, you have to make almighty decisions. this little peak here, isit in the background, steve? - yes. - the little one? - uh-huh. - [bob] okay, so we'll justpush him right into the back.
oh, you're gonna makethem all in the back. - [steve] yeah, i'm gonna makethem all in the background. - [bob] okay. it's fantasticthat you can change your mind right in mid-stream like this. now notice the angles here.angles are very, very important. okay, good. a little bit ofshadow on that little peak. okay, now, if we wanted tocreate a little mist there, we'll get steve to wash a brush real quick and show you how to createa little bit of mist.
okay. now i'm in adangerous position here. he's gonna get me. okay, now when you create this mist, all you do is just barelytap. just gently, gently tap. there. always follow the angle in your mountain. lift upward, just takes out the tap marks and softens, creates the nice misty areas. beautiful, steve. absolutely beautiful.
okay. well let's go tothe next question here. the next question is, i'm having trouble making the little foothills that you have. this also is a pretty common problem and we'll try to show youright here how to do it. the first thing you need todo is mix you up some color and i think steve's gonna use a one inch brush today to demonstrate this, but you could do it with afan brush, a two and a half
inch brush, or the one inchbrush, whichever makes you happy so let's watch steve. okay, steve's mixing up... what are you mixing there steve? - blue, brown, and white. - blue, brown, and white,okay, on the one inch brush, and you notice he's justmixing it on the brush. that way you have a multitude of color happening on the brush.
okay, now, maybe wecan get a close up here and watch what he does. he's just barely tapping the canvas and making a basic shape. there. and put some character in your foothills, don't have them just come straight across. notice all the littlehills and bumps and valleys he's got in there. it makes your painting alot, lot more interesting.
super. okay, here he's justlaying in his basic color. and this is just tapping,all he's doing is tapping. there's several different ways to make it, you can use the brush vertically and pull downward and it makesvery nice foothills also. okay, now he's gonna lift gently up, make it look like little trees maybe that's way, way back inthe distance somewhere.
very soft and quiet. when you do this use very,very short little strokes and do it in layers. noticehow he's working downward. good. very, very nice. okay, steve, while you have that going... well, you're not quitefinished yet i guess. - [steve] no, i thinki'll drop one more row in. - [bob] okay, good. that'llshow us how to create
depth in the foothills. now what he's doing is darkeningthe color a little bit. as these little foothillsget closer to you, allow them to get darkerand that helps create the illusion of distance in your painting. okay, what, did you add a little bit more brown and blue in there? - [steve] just a little bit more of both. - [bob] okay, good.
all right. now, while he'sgot color on the brush he could add a little bitunderneath, just a tiny bit, and that'll help create reflections. might as well go ahead and put some beautiful reflections inthere while we have it. now with a large brush, we're gonna take and pull those reflections down. there. now when you're pullingthese reflections down, be sure you go straight down with them.
it will disturb you terribly if you take and put them at an angle. okay, pull straight down, andthen very gently go across and that will createthe illusion of water. okay, super. let's take a look at the next question we have here. dear bob, i can't seem to make water lines with a palette knife. now this seems to givea lot of people trouble
and i think the first thing you should do is put the magic white on the palette. don't try to just dipyour knife in the can. if you do that and touch your canvas you're gonna have a line that'sa quarter of an inch thick and it's probably gonna be runny, so put a little bit of themagic white on your palette and pull it out as flat asyou possibly can get it. just really mash it hard soit's very thin on the palette
and then take the knifeand sort of just cut across and maybe we can get steve todemonstrate here. okay steve? now steve's mixed a littlebit of brown with it. now, just pull theknife across. very good. all right, now show ushow to make a water line. are you using quite abit of pressure here? - [steve] yes, just like you're trying to cut a hole through the canvas. - [bob] just really cutit then. saw it in there.
and you can make this waterline go anywhere you want it, you can go up, down, sideways, crossways, the thing is, if it's still water, these lines need to be basically straight or your water will runright out of your painting and it will really bother you when you look at this painting later on. very nice, very nice. okay,let's go to the next one here. this one you'll like, steve.
it says, dear bob, canyou show me how to make an evergreen tree using the fan brush? now evergreen trees can be made with a two and a half inbrush, the one inch brush, or the fan brush, allthree work equally well, so you try them all and you find one that's very comfortable to you and that's the one i recommend you use. the fan brush will give youa little bit more detail
if you're looking for a lotof little limbs on your tree. so let's see if we can getsteve to make us one here. steve, what color are you gonnause to make your evergreen? - i'm using a little bit ofsap green, van dyke brown, and a little bit of prussian blue. - okay, that ought tomake us a nice dark tree. - i want it to look black. - okay, let's go right up here and notice he startswith just a centerline
and then just using thecorner of the brush, just sort of work back and forth. there. and that's basicallyhow we make a tree. you can add a little more toit, you can take away from it, this is your tree so you haveto make almighty decisions. steve, why don't we putanother one right beside him? trees get lonely too. we've got to give hima little friend there. make this one a little bit-
- [steve] maybe a leaning one? - [bob] all right. there. maybe when thattree was just a little baby somebody stepped on him whilethey was down there fishing for that big trout and he'sgot a little crook in his back. very nice, steve. okay. let's go right on in here andsee what the next question is. dear bob, can you show me how to highlight my trees and bushes?
i can't make the paintstick to the canvas. once again, a very common problem and we've said it overand over in this series, you need to start with a paint that is as firm as you can find. it should be very, very firm and dry. a good way to test yourpaint is to take the cap off and squeeze the paint. it should stand aboutthat high above the tube,
roughly three quarters of an inch. if it won't stand up by itself like that, chances are it's probablytoo thin for this technique. so test your paint, there shouldbe no oil running out of it it should be a very dry, firm paint. if we start with a very firm paint, then it's much easierto put highlights on. because a thin paint wecan stick to a thick paint, but you can't reverse that.
you have to start with a very firm paint. okay, let's see if we can get steve to make us some little bushes here. he's already got ahead of us. - i just took the libertyto go ahead and do it. - well, all right. he's usingthe two an a half inch brush. it would also work with a one inch brush, and we just drop insome basic shapes here. steve, while you gotall that on your brush,
why don't you just throwsome color in the water and we'll show them howto make reflections too. - [steve] all right. - there. and all we've done is just drop the same basic shape right into the water. good. what color did you use on that? - a little bit of sapgreen and prussian blue. - sap green and prussian blue. very dark, very nice color.
okay, you want to take your brush and pull those reflectionsdown just a little bit? now watch what happens when he does this. good. now keep them on the ends smaller so they match what's above it. okay, let him clean the brush up here and we'll get ready to go right along. i'm fixing to get splashed again. all right, so if you notice me having blue
freckles from now on, you'll know why. now here he's just makinga horizontal stroke across to give it a watery appearance. why don't you drop us a few little trunks in some of those trees there, steve? - [steve] okay. - and for that we'lluse the palette knife, a little bit of van dyke brown, and watch how he justdrops them in. there.
and you touch and justpull slightly to one side. he's gonna put some inthe evergreen's too, okay. - [steve] yeah. - [bob] all right, now, ifyou want to highlight these little tree trunks, we usea little brown and white and just put a little bitof highlight on there. now our mountain tells us in this painting the light's coming from the right side, so we need to highlight the right side
of the trunks also. once you put that firststroke in the mountain you've just determined whereyour light's coming from for everything else in this painting. okay now, the otherpart of the question was is highlighting these. so why don't we use a one inch brush and let's show them real close here how to put some highlights on.
start with a little bit of magic white. that thins the paint down. what are you using there, steve? - going into a little bit of yellow ochre. - yellow ochre, okay. and notice the amount of painthe's loading into the brush. a lot of paint in the brush. steve, why don't you hold the brush right up here against this dark area
and let's show them real closewhat the brush looks like. good. look at the amountof paint in there. it's very, very full. okay, start at the very top,because you want that to be the brightest part of your bush or tree, and begin laying in your highlight. you need little patterns in here. don't just throw them in at random. now with the color thatyou pick up on your brush
you can go back throughthe yellows that he's using and sort of change ita little bit. maybe... okay, what are we gonnado here? right there? - [steve] maybe drop a bush over here. - [bob] good. isn't that a beauty? okay, why don't you add alittle sap green to that and let's see what we get. okay, a little more of the magic white to then the paint down.
okay, which one you gonna do now? - oh, probably the one on the end. - [bob] there. once again,go slightly above the dark. you don't want any shadowson top of the bush. - okay, maybe try something different. - [bob] all right, why don't you put us a couple of more little bushes in there and let us see close up and we'll go right along here.
- [steve] maybe one with alittle bit of orange in it. - [bob] okay. very nice. notice how he's layering these bushes. this is what createsthe depth in a painting. it's most important thatyou layer these bushes. now, why don't you take alittle of that same color and reflect it rightinto the water, steve? - [bob] and here youjust reverse the brush and just put a basic bush,tree, right down into the water.
very gently. you don't haveto use much pressure here. good. okay... this son of a gun is quite a painter. i better watch out or he'll be on tv and i'll be home by myself. all right, now we can take a large brush and pull down very gently.three hairs and some air. there. there we go. now just go across in a gentle,horizontal stroke and it
creates the illusion ofreflections that fast, that easy. okay, another problem that people run into quite frequently is putting land in. so i'm gonna have stevetake a little bit of van dyke brown on the palette knife and show you how to laysome land underneath this. okay, there he goes. we'vegot a little bit of brown. he starts at the smallend, just barely touching, and notice how he follows the angles here,
the lay of the land.that's very, very important that you follow the lay of the land and let it get larger as it goes back. this will cause you tolook into the painting. it leads the eye into the painting when you're looking at it. there. okay, all right, steve,why don't you take a little brown and white and makeus a little highlight there so this stands out a little better.
what color did you usefor your highlight there? - [steve] just a littlebit of brown, a little bit of blue, and some white. - [bob] that was van dyke brown i assume? - [steve] yep. - [bob] okay, now, to sort ofclean this up a little bit, straighten the bottomout and to separate it, we'll use a little bitmore of the magic white and make us a littlewater line underneath it.
okay, remember how we loadit, we just cut through it. steve's got a little magic white that has a little brown in it. there. this thin paintwill flow off your knife. and as he said earlier,you push very hard. you really, really just act like you're trying to cut a holeright through the canvas. good. okay, steve, why don't you run a few bushes down that bank?
- just to clean up thatnice, straight edge and i think you've turnedout a beautiful little painting here just showingthe answers to the questions. there we go. beautiful. that breaks up that long, straight edge. makes it a little morepleasing to the eye. now, with the clean point of the knife, we can just cut in a fewlittle sticks and bushes. steve, just take thepoint of the knife and
cut some little sticks in the bushes. okay, and use a pretty firm pressure here and just cut them right in. okay, that's very good. now, do you know what let's do? - what's that? - let's take, let's adda little bush right here and show them how farit'll push everything back. just take one of your twoand a half inch brushes
and drop us in some darkcolor right there real quick. - [bob] just small littlebush right here on the corner. it's always interestingto see how you can add one more plane. there wego, just a little one. there, a little prussian blue,van dyke brown, sap green. there you go. just let it godown at an angle a little bit. - [steve] i'm gonnamake a little row here. - [bob] all right, beautiful. now, let's show them real quick how to
highlight those and that'llgive you one more chance to see how these things are highlighted. a little trunk in therewith some van dyke brown. now we can put some highlights on here. now when you're at home you can use any color that you want to create all these beautiful little highlights. we're trying to usevery bright colors here so they show up well on your screen.
he's got a beautiful orange here, it's made from mixing a little cad yellow and a little bit ofpermanent red together. good. there. once again, layer theseso you have depth in them. look how much distance alreadythis is creating in painting. it really pushes everything back. it adds another plane to the painting. okay. there we go, a littlesap green, a little yellow. very nice.
okay, a few little sticks in there with the point of the knife. it's just a super way to show you how to add another plane into a painting. okay, good. well, steve, whatdo you think of this painting? - well, i think it's pretty good. - that's very nice andi hope that everyone has enjoyed watchingyou answer the questions and do a beautiful little painting here.
i'd like to close the show and take just a few minutes of your time and i'd like tell each and everyone of you how much we appreciate youallowing us into your home, how much we appreciate youbeing with us each week. it's really a pleasure to be here, to try to teach you this fantastic method. i'd like to also take a few moments and thank all of the fantasticpeople here at the station
that have worked so hardto make this show possible. they put in a great deal oftime, they work very hard, and i think they produceyou a quality product. so on behalf of all ofus here at the station, we'd like to wish eachand everyone of you, happy painting, god bless, on behalf of my son,steve, thanks for watching. - see you next time. (soft music)
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