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Bob Ross - Island in the Wilderness (Season 29 Episode 1)

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Nov 28, 2016

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Bob Ross - Island in the Wilderness (Season 29 Episode 1)
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Transcription

  • (mellow smooth jazz music)
  • - Hello, I'm Bob Ross and I'd like to welcome
  • you to the 29th Joy of Painting series.
  • If this is your first time with us,
  • allow me to extend a personal invitation
  • for you to get your brushes and your paints
  • and paint along with us each show.
  • And if you've been with us before,
  • please allow me to thank you for inviting us
  • back for another series of painting shows.
  • We'll use about a dozen colors,
  • some unorthodox brushes, and each show
  • I'll show you how to put some of nature's
  • masterpieces right here on the canvas.
  • So, I'll tell you what, let's get started.
  • Today, we'll have 'em run all the colors
  • across the screen, right there,
  • that you need to paint along with us.
  • While they're doing that, let me tell you
  • what I've got going on up here.
  • Today, I'm using an 18 by 24 inch,
  • double-primed, pre-stretched canvas,
  • but you use whatever size you'd like.
  • And I've just covered the entire canvas
  • with a very thin coat of liquid white.
  • Liquid white is designed just to make
  • the canvas wet, and to make it slick.
  • It allows us to actually blend color
  • right here on the canvas.
  • Makes your whole painting life a lot easier.
  • So, let's get started.
  • Thought today we'd just do a very simple
  • little scene that hope you'll enjoy.
  • Let's start with a little two inch brush
  • and a touch of the alizarin crimson.
  • And we just load a little bit right into the bristles.
  • Pull a little paint out, tap the bristles firmly
  • to assure nice even distribution of paint
  • all the way through the bristles.
  • And let's go right up here.
  • And we'll take this old brush and just
  • making little X's, little criss-cross strokes.
  • We'll just very quickly drop in just a little
  • warm part in the sky, here.
  • Maybe we'll have a little pink in the sky.
  • I sorta like that.
  • And in our world, we can do anything
  • that we want to do here, any old thing.
  • There. Doesn't take too long when you're
  • using a brush that's two inches wide.
  • Okay, without even cleaning the brush,
  • we'll go right into, right into a little phthalo blue.
  • (chuckles) I like phthalo blue.
  • It's a very warm blue, very nice.
  • Once again, just tap a little color into it
  • and let's go back up here and still
  • using our little criss-cross strokes, X's.
  • That's all they are, little X's.
  • We'll just apply a little bit of the phthalo blue.
  • Somethin' about like so.
  • Then we'll come back after we clean
  • the brush and blend that together.
  • Now, the blue is many many times
  • stronger than this little pink area.
  • It'll just eat it up, so be careful.
  • Be careful, all go away.
  • If you wanted to make the indication
  • of a happy little cloud, all you do is just sorta tap.
  • Little stringy cloud just lives right there
  • in the brush and that easy.
  • We'll blend him out, have a little stringer cloud there.
  • Let's see, while we have that on there,
  • let's have some water in this painting.
  • I love water and it's very easy to paint in this style.
  • Still water is always level.
  • And I think today we'll have still water.
  • So, pull from the outside in, outside in.
  • Somethin' about like so. Alright.
  • While I have that old brush going,
  • I wanna darken the corners a little bit.
  • I'ma take a little Prussian blue
  • and just add in the corners here and there.
  • Little bit up there, and we'll go over
  • to the other side and add a little more
  • and then down toward the bottom,
  • and we'll put a little down here too.
  • I'm just putting a little Prussian blue
  • in each corner to darken it.
  • And then, the most fun part of this
  • whole technique is washing the brushes.
  • Since these are oil paints, we're washing
  • our brushes with odorless paint thinner.
  • Shake off the excess, (paint brush thumps)
  • (giggles) and just beat the devil out of it.
  • That's really the most fun part of it.
  • Now, with a clean brush, and it's relatively
  • dry from just beating it, we'll start
  • in the light area, which is the pink,
  • and we'll blend it all together.
  • Somethin' about like so. That's all there is to it.
  • Okay, and down here, we'll just do the same thing.
  • There. But it's that easy, that easy.
  • What's so fantastic about this is that anybody,
  • anybody can put a little masterpiece on canvas
  • with just a little bit of practice,
  • a vision in your mind, and off you go.
  • Alright, that's working so well.
  • Take a little white, little bit of the blue,
  • grab a little more of the titanium white.
  • I wanna make a light blue color here,
  • mostly phthalo blue, and let's just
  • tap a little color into the bristles.
  • This old two inch brush'll do marvelous things.
  • Watch here, watch here, watch here.
  • It's fun. Take the corner of the brush
  • and just pull down, somethin' about like so.
  • Straight down, straight down.
  • I wanna make it look like little distant trees
  • live far back in the distance.
  • Little more color, and we'll just have it,
  • we'll go, I don't know, right there.
  • In your world, you create any illusion that you want.
  • There, but I wanna keep the bottom light,
  • so it looks like mist.
  • You could even take another two inch
  • brush, I have several, and tap it.
  • Really get in there and tap it and then lift upward.
  • It'll help create that illusion of mist,
  • right down at the bottom.
  • And sometimes, sometimes it's a lot
  • of fun to put several layers.
  • It helps create depth in your painting
  • and for that, we'll add a little more blue
  • but we make it a little darker.
  • Add a little Prussian blue to it,
  • make it a little darker, but the same thing.
  • And we'll come back and just put
  • another little layer in here, just touching
  • and pulling downward, that's all we're doing.
  • That's really all we're doing.
  • Somethin' about like that. There.
  • And we don't know where that goes.
  • It doesn't matter at this point.
  • And back to our other two inch brush, and we'll tap this.
  • I wanna create mist again. Notice the separation.
  • It's caused because of the difference in color,
  • difference in value, and that misty area
  • turns out to be your very best friend.
  • Take care of it, treasure it. There.
  • Okay, let's have some more fun. (chuckles)
  • Let's see, gonna take some black,
  • some Prussian blue, and a little phthalo blue.
  • It doesn't matter, we'll just throw it on there.
  • Crimson too, what the heck. Be brave, be brave.
  • I'm gonna put a little satin green in there too.
  • It's getting close enough we should begin
  • seeing some color. Little bit of white.
  • Don't want it totally dark yet.
  • There, perfect. 'Kay I'm gonna wipe the old knife off.
  • And let's get us fan brush, we'll use a fan brush.
  • Load it full of color, both sides, both sides.
  • 'Kay, let's go up in here and maybe in our world
  • there lives, does now, some little trees back in here.
  • Now, these are a little closer, you're seeing
  • a little more detail, a little more distinct. There.
  • And we just drop 'em in.
  • We don't know where they go, wherever you want 'em.
  • That's exactly, exactly where they should live.
  • Don't put too much detail in here.
  • It's too far away, you're not gonna see a lot of detail.
  • You see detail when it's very close to you.
  • When things are far away, you make out
  • form, shape, basic color, that's all.
  • Save the detail till the foreground.
  • The lack of detail helps also create
  • that illusion of distance and depth in your painting.
  • It's very very important, very important.
  • M'kay, I'm gonna tap a little of that.
  • That'll help create that illusion of mist on there too.
  • There. Lift slightly upward, lightly.
  • Just a little bit, see? Now then.
  • You know, when I was a traditional painter
  • one of the hardest things to make
  • effectively was reflections.
  • Watch how easy, I'll take some of that same color,
  • we'll take a two inch brush, touch and pull down.
  • Just pull straight down.
  • It's most important that we go straight down.
  • Somethin' like so, straight down.
  • (clicks tongue) make those little noises.
  • Then, very lightly, go across. There.
  • And instantly, we have some nice reflections, that simple.
  • Now, here somethin' is funny.
  • Take a little, I just use a little white.
  • If you wanna create another plane in your painting,
  • take a little white and lift upward,
  • and it'll make little areas back here
  • that looks like a whole different plane
  • and the white will look like little trunks in those trees.
  • There, that easy.
  • Let's put a little water line.
  • For that we use liquid white.
  • Pull it out very flat, flat as you can get it,
  • cut across, 'kay?
  • And we can go right up in here
  • and we can just drop in just a little water line.
  • Just a happy little water line lives back
  • in here somewhere, we don't know where it is.
  • Don't know that we even care, just let your
  • imagination take you anywhere you wanna go.
  • Lotta times I start a painting and have nothing
  • in mind but the time of day and the time of year.
  • And from that, you can paint some fantastic little scenes.
  • Don't worry about it, you don't always
  • have to have a perfect vision in your mind
  • of what it is you're gonna paint.
  • Imagination is, it's like any other muscle in your body,
  • or lack of muscle in your body.
  • The more you practice, the better it becomes.
  • Take some black, Prussian blue,
  • I'ma put some phthalo green in there.
  • I like phthalo green, maybe a little crimson.
  • There we go.
  • Alright, let me wipe off the knife.
  • I just wipe the knife on a little, little paper towel.
  • I would just use that brush, little fan brush.
  • Load some color into it, both sides of the brush.
  • Both side, let's go up in here.
  • Let's have, let's have a little evergreen tree.
  • He lives right here, see?
  • Just make a line, take the corner
  • of your brush, make a touch, make another one,
  • and just sort of work from the center out.
  • There it goes. (clicks tongue)
  • It's easier to do 'em fast than it is slow, though.
  • Here they come. (clicks tongue)
  • Just sorta back and forth.
  • I had a lady in class one time tell me
  • it was like makin' Z's, the letter Z.
  • She called 'em Z trees, so I guess
  • that's as good of analogy as any.
  • From the center out, the center of the tree
  • should be the thickest, darkest, strongest part of the tree
  • 'cause you have leaves on the back,
  • you have a trunk in the middle,
  • and you have leaves on this side.
  • We'll have one more in there. There we go.
  • Have a little family of trees.
  • You know if you've painted with me before,
  • I think everybody should have a friend, even a tree.
  • Even a tree needs a friend.
  • Now, if you wanted to reflect those,
  • just pop in some general indications
  • of where they are, no big deal.
  • 'Cause we don't make mistakes here,
  • we have happy accidents.
  • Very quickly, you learn to work with anything that happens.
  • Take the big brush, pull down. (clicks tongue)
  • Straight down, once again, and then go across,
  • and we have instant reflections.
  • I'ma just use that same fan brush.
  • It has that color we made the tree out of it
  • and I'll go through cad yellow and a little yellow ochre.
  • Immediately, we have green.
  • There we are. Let's go up in here.
  • And we can take that green, let's go back
  • and put some highlights on our little
  • evergreen trees, there they go. (clicks tongue)
  • Alright, this little tree here he's sayin,
  • "Don't leave me out. I need some too."
  • There we are, there we are, there we are.
  • Alright, now, gonna put a little liquid white
  • right on that same brush, 'cause I wanna
  • lighten the color and make it a little thinner.
  • A thin paint will stick to a thick paint.
  • We mix 'em back up again, just go back up here.
  • And we can just take this brush
  • and let's just pop in the indication
  • of some little bushes that live down here,
  • right down in these little foots.
  • Somethin' about like that. How's that?
  • That looks like a little island.
  • Let's put some dirt there.
  • Let's take some white, little dark sienna,
  • mix 'em together, cut off a little roll of paint.
  • Let's go up in here and we'll take this
  • and we just put the indication here,
  • a little bit of soil, some dirt, some kind.
  • Gotta have a little place, if this is
  • a little island, for all this to sit on.
  • Alright. See there?
  • That's all there is to it.
  • M'kay, (sucks teeth), alright, we gotta figure out
  • somethin' to do on the other side now.
  • Let's have some fun, let's have some fun.
  • You know if you've painted with me before,
  • I like old big trees.
  • Let's take a little bit of that color right there,
  • let's go right up in here.
  • This is your bravery test, take the corner
  • of the old two inch brush and let's just
  • begin laying in a basic shape here.
  • Tree it lives right there, right there.
  • Big old tree, but he's a nice tree.
  • There he is.
  • Alright, while I got that brush going,
  • I tell you what, maybe let's do somethin'
  • about like this. (clicks tongue)
  • And we just tap in all kinds of little,
  • little bushy lookin' areas.
  • You have to decide what lives here,
  • how far it goes, how tall is it, how short is it,
  • it's fat, skinny, in between, it's your world.
  • And in your world, you make all the decisions.
  • All the decisions. There we are.
  • See, we're just puttin' some dark in here
  • so later on, our light color will show.
  • We'll just grab a-- (paint brush clatters)
  • Oops, grab another one.
  • There's a fan brush right there.
  • Take a little white, a little bit of the dark sienna,
  • just wanna make the indication here.
  • Maybe a little tree trunk, maybe a little more dark sienna.
  • (exhales quickly) That's nice.
  • 'Kay, right here. (exhales)
  • Just want some indications.
  • I'ma put some happy little leaves in there,
  • so we're gonna cover most of those up.
  • Most of 'em won't show, we'll go right into that.
  • Need a little sap green, little bit of the yellow.
  • We'll just put it right on this
  • two inch brush, give a little push.
  • Good shot there, you can see that well.
  • 'Kay, let's go up in here.
  • Now, I wanna put some leaves on here.
  • Use just the corner of the brush,
  • just the corner of the brush. There we go.
  • See? That's all there is to it, just the corner.
  • Think about shape and form, drop these
  • little rascals in wherever you want 'em.
  • Wherever. You really are the creator
  • on this piece of canvas.
  • You can do anything!
  • You can move rivers, mountains,
  • create any illusion that you want here.
  • When I go home, the only power I have is over the garbage.
  • I can take it to the street all by myself,
  • but here I can do anything, absolutely anything.
  • I decided I wanted a bush right there.
  • And, tell you what,
  • let's get crazy.
  • You know me, if you've painted with me before.
  • I like big trees and we have one
  • living in our world right there.
  • There he comes.
  • We should've done this with the two inch brush,
  • it'd been a lot faster. There we go.
  • Just drop it in wherever you think it should be.
  • Alright. Boy, that's a big tree,
  • I wasn't kiddin', this is a monster tree.
  • Huge tree and you could've done it
  • with a two inch brush just as easy, but much quicker.
  • I like the old fan brush, it gives you a little more detail.
  • Here we go with a smaller tree,
  • 'cause I think he needs a friend.
  • There. 'Kay, just drop it in.
  • All we're doing, once again, is putting
  • in the background color.
  • You could put this in with a paint roller,
  • it doesn't matter, long as the shape is right.
  • We'll come back and separate all
  • of this with some nice highlights.
  • Here's a little brown and white.
  • We're gonna put the indication just here and there
  • of a trunk, just what you can see, here and there.
  • There. You don't see it all 'cause you have
  • leaves on this side.
  • We can go back to our little fan brush,
  • go right through the cad yellow, yellow ochre.
  • We'll load some color into it.
  • Let's go back up in here.
  • Let's put a highlight or two on here.
  • Evergreens are normally darker than other trees,
  • so don't kill all the dark here in your evergreen.
  • It happens sometime, get's ya' feeling good
  • and you don't know when to stop.
  • There. And the base of the tree should be
  • darker than the top, big shadow areas underneath.
  • And those shadow areas are where all my little friends live.
  • In previous shows we've had, like Peapod
  • the pocket squirrel, my little squirrel that lives with me.
  • We've had him on the show.
  • But this is kinda the places that he likes.
  • Let's take a little bit of color,
  • let's use the, let's use the one inch brush.
  • We'll go through some, get some sap green,
  • some yellow, load a lotta color into the brush.
  • More sap green. (sharply exhales) That's nice.
  • Alright, then we can go up here,
  • and we can begin picking out individual bushes,
  • one at a time, one at a time.
  • There's a happy little bush, lives right there.
  • You knew he was there, didn't you?
  • And he's got a little friend named Clyde,
  • lives right over here, there he is.
  • So you can give all these things names,
  • personalities, it's okay.
  • We'll take the little oval brush,
  • dipped in some paint thinner.
  • We'll go through some midnight black and some brown
  • on one, wanna load it full of color again.
  • Then I'ma take, and with the other side,
  • I got some light brown I made earlier.
  • I'm just gonna go through, see?
  • Like that, put a little black in it,
  • make it a little dark, ooh that's nice.
  • Now, with that I guess we'll come up here
  • and make the indication, we can't see
  • too much of 'em, of some rocks that live up there.
  • Just some happy little rocks.
  • Maybe there's one (exhales) there, somethin'.
  • Wherever, just some indications.
  • Then we'll come back with our brush
  • we were making the bushes with
  • and we'll settle those right down into the painting.
  • There, now see?
  • Now they become part of the painting.
  • There we go, just like so.
  • And we'll make all kinds of little bushes and trees
  • and happy little things that live here in our world.
  • Alright.
  • Okay. Shoot, if we had such a place as that,
  • I'd have to go fishin' there.
  • I like to fish but I'm not a very good fisherman.
  • I catch a little fish and take the hook carefully
  • out of his mouth and put a band-aid on him,
  • little CPR, pat him on the toot toot,
  • and put him back in the water,
  • go back, catch him again another day.
  • But we'd have to have a way to get up here
  • if we're gonna catch that fish.
  • We'll take a little of the van dyke brown
  • and let's have us a little path.
  • We had to walk all through through these bushes,
  • maskeeters would get us, so let's have us
  • a little path that we can walk back in here,
  • catch a big old trout or bass, whatever
  • it is that lives in here. There.
  • Take a little bit, let's find some white,
  • little dark sienna, mix it together,
  • make a little highlight color.
  • Just barely touching, barely.
  • Let it graze, let it graze.
  • That easy, that easy.
  • 'Bout like so.
  • M'kay. There.
  • Now then, let's put somethin' on this side.
  • Ya have somethin' on the other side the path,
  • now let's go on this side.
  • Once again, I'ma take a one inch brush
  • and I'm just settin' it straight down
  • and I'm pulling it in one direction.
  • It's most, most important.
  • That loads a lot of paint, and see it rounds one edge.
  • You wanna turn it, put that rounded edge to the top.
  • It's most important.
  • Then we take that, we go right up in here,
  • no pressure hardly, just enough to get
  • the brush to touch the canvas,
  • and we begin working on shape and form
  • and we create a bush or tree that lives right there.
  • That's all there is to it.
  • And there's another one, but do one at a time.
  • I know, I know. Sometimes it starts working, you get greedy.
  • Do one at a time, one at a time.
  • I'ma put a little bright red on there.
  • Maybe here's one right here. Oh, yeah.
  • It's got little, I don't know if you can see 'em,
  • I got little red flowers on the tip.
  • (chuckles) Sneaky. There.
  • Then we can go back over in here,
  • and we can begin adding in just little
  • things that come about here on the path.
  • 'Bout like that. Alright, alright.
  • You got your brushes warmed up yet
  • and you're ready, you can do this!
  • You can do this, I know you can.
  • I get letters every day from people
  • all over the country that said they'd never
  • believed they could paint and they're doing it.
  • Their friends and neighbors don't believe it
  • when they look at their paintings but they are doing it.
  • There. I'ma put a little stick
  • lives right there, little old tree.
  • Maybe, maybe, maybe this little tree died
  • and he's naked now, just a skeleton hangin' out here.
  • And that happens in nature.
  • There. So, we can put little arms on him
  • that are still hangin' out. Alright.
  • All kinds of little dooders.
  • Maybe over in here, and these little details
  • are what'll make your painting look a little more finished.
  • Take your time when you're doing these
  • and just drop 'em in here and there and there and wherever.
  • Take a little light brown with paint thinner on it
  • and when you mix this, get it very thin.
  • This should be almost like, almost ink consistency.
  • Turn the bristles, that'll bring it to a very sharp point.
  • There you see it good against that dark, alright?
  • And where it's very dark, then we make little light trees.
  • Where it's light, we make dark trees
  • because they both exist in nature.
  • So you can put little, see now there's
  • a little tree lives back here, just has a good time,
  • looks out over the water, talks to the fish.
  • That's all there is to it.
  • Another way of making little sticks and twigs,
  • take your knife, just a clean knife
  • and you can reach up in here and just
  • scrape right through the paint, see?
  • And that'll make all kinda little sticks.
  • And let's come down here,
  • we'll make a few more in here, wherever.
  • You decide where they live.
  • Sometimes, these old evergreens here
  • have old dead limbs hangin' off of 'em
  • and you can do that, just with a little flick of the knife.
  • And shoot, with that I think we
  • 'bout have a finished painting.
  • It's that easy.
  • Let's take a little bit of the paint thinner,
  • little bright red, and we'll sign this little rascal.
  • Really hope you've enjoyed it.
  • It's a very simple painting that you can do
  • and if you try it, I'd love to see
  • some photographs of what you're doing.
  • So if you have time, take a photograph,
  • send it to us, let us hear from you.
  • Until then, from all of us here,
  • I'd like to wish you happy painting
  • and God bless, my friend.
  • (mellow smooth jazz music)

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Description

Take a walk with Bob Ross down a little lakeside path in a secluded place; you’ll delight in the discovery of a small uninhabited island.

Season 29 of The Joy of Painting with Bob Ross features the following wonderful painting instructions: island in the Wilderness, Autumn Oval, Seasonal Progression, Light at the Summit, Countryside Barn, Mountain Lake Falls, Cypress Creek, Trapper’s Cabin, Storm on the Horizon, Pot O’ Posies, A Perfect Winter Day, Aurora’s Dance, and Woodman’s Retreat.

Subscribe to the official Bob Ross YouTube channel - http://bit.ly/BobRossSubscribe

Season 29 Playlist: https://www.youtube.com/playlist?list=PLAEQD0ULngi6c0D5_ELtW5p_NLShDktAN

Originally aired on 8/24/1993