[Music] Welcome back.

I'm certainly glad you could join us today.

I thought today, we'd just do a beautiful little mountain scene that maybe we're way up high in the mountains, and looking out over some beautiful landscapes.

So, I tell you what.

Let's start out, have them run all the colors across the screen, that you need to paint along with us and while they're doing that, let me show you what I've got done up here.

I have a basic idea of what I want to do.

So, I've covered this area with Black Gesso and allowed that to dry completely.

On top of the Black Gesso, I've put a very, very thin coat of Liquid Clear all the way over the black part here.

Then I put transparent color.

Today, I'm using Prussian Blue and Midnight Black.

And I've just put a thin coat of that color over the entire black area.

And this, we've just covered up with a Liquid White, like we normally do, so it's all wet and it's ready to go.

So let's just have some fun today.

I'm going to start out with a little bit of Midnight Black and Prussian Blue.

Same color we have in the black area.

On the two-inch brush.

Let's just drop in a quick little sky up here.

We'll just use the little criss-cross strokes, and just very quickly, just lay in happy little sky area.

Just making little X's.

There.

That's all there is to it.

And we'll bring that right on down.

Right on down to the black area, nearly.

But it's mixing with the Liquid White and automatically it gets lighter and lighter in value as we work downward.

And down here, we'll have it just, just about disappear.

All right.

Okay, now then, we just blend that a little bit.

I don't want to blend it too much, because I want to have little spots of color in there so there's something happening in the sky.

It's just not flat and dead.

Okay now, very lightly, we'll just go across and that'll remove the brush strokes.

Okay, let me wash the old brush.

And as you know, we wash our brushes with odorless paint thinner.

[laughing] And just beat the devil out of it.

Let's make some little clouds in our sky today.

I'm going to show you the simplest way of making some little clouds.

We'll take the fan brush, with a little Titanium White on it.

Just load a little color into both sides of the bristles.

And we'll go up here, and this is where you take out all your frustrations.

Just hit the canvas and let that brush spin and just move on there.

Think about where you want some little actions happening.

Just keep it moving.

Don't stay in one place, or you'll just have big cotton balls up here.

Just let it sort of move and dance and play.

Wherever, wherever, wherever.

Just sort of think about where you want little cloud to float around in the sky.

But keep the brush moving and twisting.

All the time.

There.

Now then.

With a brush that's very clean and very dry, and it's most important that it be dry; very gently, very gently, just tickle it a little bit.

There, just sort of blend it together a little.

And you can blend this as much as you desire.

If you blend it enough, in fact, it'll just become part of the background and go away totally.

So you have to make a decision.

Stand back and take a look-see once in a while.

Decide if it's blended as much as you want it, or you'd like to have a little more.

It's totally and completely up to you.

There, now very lightly, we'll just sort of blend that a little.

Okay, that easy.

We have a very nice little sky.

Okay.

Shoot, let's get crazy today.

Tell you what I'm going to do.

Tell you what.

I'm going to take some black.

Let's use a little Phthalo Blue, what the heck?

And Alizarin Crimson, because the two of those together will make a nice lavender type color.

And the black will assure that it stays dark.

Pull it out as flat as we can get it.

Cut across, get our little roll of paint, as usual, right on the edge of the knife.

Now come right up in here.

We have to make some big decisions today.

Maybe, maybe we're going to have a huge mountain that lives.

There, now you can see it.

Right up in here, a little more color.

And you just sort of make a decision, where you think this old mountain's going to live in your world.

Wherever.

Now.

This is really going to be some kind of mountain here.

Have to be careful with mountains.

Them son-of-a-guns [chuckles] will grow on you.

Maybe, maybe there's another little bump right there, comes down.

I don't know, wherever.

There's one.

Just sort of make a decision.

Decide where you think they should be.

now you could even take a little white with a little touch of that same color and maybe back in here, we could have indication of a little mountain that lives far away.

And I put a little white with it, so it'll really look like it's far, far back in the distance.

Probably should have done that before I did the big one.

It would have been easier.

But I didn't, so we'll live with that.

Take our brush, let's do the little mountain back here.

Just pull that down, like so.

A little Titanium White, and I don't want much back here.

Just the indication of a little highlight on this mountain that lives far away.

Just a little something like so.

A little white, a little touch of the Phthalo Blue.

Make us a nice little shadowy color.

Just put the indication of a few little shadows in there.

Once again, we don't want a lot in here or we'll lose that illusion of distance for that particular little mountain, if it's far away.

Now, this one here, lives right here in the foreground.

There he is.

Big strong mountain.

I'm going to scrape off all the excess paint here.

Just really get in there, scrape it.

You're not going to hurt that canvas, it's tough.

And with our two-inch brush, grab it.

Bend the bristles ... really get strong with it.

Make them bend.

And you can pull that paint, because the canvas is wet, you can move color on it.

If this was a dry canvas, [chuckles] you'd be in Agony City right about now, trying to move color.

But since it has the Liquid White on it, you can do this and it happens very easily.

There we go.

Now then, back to our Titanium White.

And we pull it about as flat as we can get it.

Really get in there and put some pressure on it.

Cut across and get our little roll of paint.

And now we have to make big decisions.

Where does all these little things live in here?

There's a little peak, maybe right there.

No pressure, no pressure, no pressure.

Just let that float across there.

You have to decide, which peaks are in the foreground, which ones are in the background.

You have unlimited power.

You can do this.

There.

Okay.

Maybe way up in here.

Maybe there's a big old peak there.

[Bob makes "tch" sound] Mm.

These look like the Tetons.

The Grand Tetons, beautiful range of mountains.

Still trying to figure out what Teton means.

There.

Maybe right in there.

Mm.

See, let it go.

Just let your imagination go.

You can create all kinds of beautiful effects.

Just that easy.

Let's take, go back to our little bit of Phthalo Blue and white.

Wipe the old knife off.

Cut us off a little bit of paint.

Now then, let's come right along in here.

Touch, and just let this fall right along like so.

There we go.

Maybe, [Bob makes "shsoom" sound] just sort of comes right along in there.

Just let your imagination take you wherever you want to be here.

Sometimes, sometimes you can just take the knife and let the paint break this way.

There.

A little bit right up in that little crevasse there.

All these little places have to have shadows in them too.

Shoot, here's one.

Maybe it comes right down here.

Big crack in the mountain there.

Let's take the little knife.

I like this little knife.

And let's get in here and just play.

Maybe there's a little valley right in there.

Just a little place right in there where all the little creatures go to hide.

Like that.

Okay.

And then we can take, and just bring this right up.

There it is, wherever, wherever, wherever.

Once again, you're only limited here by your imagination.

There.

And maybe a little bit of shadow right in there.

Wherever.

Okay, now then.

The clean, dry, two-inch brush.

I want to create some mist at the base of this.

Just tap, always following those angles that you put in there and lift gently, gently upward.

Just lift it upward.

There we go.

And over here, grab that and let it sort of blend outward, so it looks very soft.

See there?

Very gentle, peaceful.

There.

Okay, now.

And sometimes it's fun ... [chuckles] I tell you what, let's just do it, what the heck.

Watch right here.

Maybe right in here, there lives another little peak, right there.

See?

All you gotta do is take a little white and drop that little rascal in.

I don't know where it goes.

Wherever you want it.

Wherever you want it.

I know when I was young, I always wanted this much power.

To be able to move mountains.

There.

And on this canvas, I have that now.

And you can too.

There.

Don't have any power anywhere else, but here.

I can do anything I want.

Little, little shadows right in here, like so.

There.

Wherever there's a little peak, you have to have a little shadow, to make it look right.

We take our clean, dry brush, and once again, we want to create that illusion of mist.

And we do that just by tapping the base of it here, and then lifting upward.

Blends it all together, and takes out the little tap marks.

There.

Okay.

Okay.

We just blend that to any degree of softness that you want.

You can even tap it a little down here, if you're real careful, and create the illusion of little clouds and mist that are floating all down toward the base of this.

Just using the top corner of the brush.

Okay, good.

Let's take, we'll use that same color, what the heck?

I'm going to a put a little white with it.

Same color, a little bit of white with it.

Maybe I'll add the least little touch of Sap Green to it.

We're getting close enough into the foreground here that we can begin seeing some color.

A little bit of green.

Wipe the old knife.

Let me grab a fan brush here.

There's one.

Load it full of color and maybe right in here, there's just a few little trees that live, right in there, right in there, wherever you want them.

As many as you want.

Just drop them in.

There.

Okay, just sort of tapping downward with the fan brush.

There's one, maybe this one's a little bigger and you can see a few limbs on him.

Most of them are going to be too far away, but maybe here and there we can see the limbs on a few.

Just a few.

There we go.

Okay, there's another one that we can make out a little detail on.

Maybe on this side over here there's even one.

All right.

I'm going to take two-inch brush and just tap the base of it here.

I want to create more mist at the bottom of these.

And each layer, I like to have a little mist at the bottom of a layer and that acts as your separator.

And you can do that very simply, by just tapping.

Just tapping a little.

And each one of these layers create another plane in your painting.

And the more planes that you have, the more depth that you'll see in your painting.

And to me, that's what really makes a painting spectacular is when you can see layer, after layer, after layer of depth in it.

Let's mix up, let's mix up... take some black, Prussian Blue, a little Van Dyke Brown, Alizarin Crimson, and Sap Green.

We've got just about everything that's a dark here.

Okay, let me wipe the old knife off.

And we'll use the old fan brush again.

Load it full of color, full of color.

Now then, I think I want some big rock formations, as we mentioned earlier here.

So, back in here, maybe there's some little evergreens that have grown way up in here.

Let's just start putting in some basic little shapes that live way back in there.

Just a few.

There, we give him a little friend.

We don't want him setting way up here by his self.

Shoot, he'd get scared.

There.

Maybe, maybe there's some in here.

Now, one thing that we did here.

If you remember, we did this Black Gesso thing here and I just sort of painted the indication of a few little trees in there.

Now the paint is transparent enough that they will continue to show through and it'll look like a lot of trees in the background that are shadows.

So don't cover up each one of those, when you do yours.

Leave them in there.

People will think you worked like devil to put them in there.

[chuckles] And you didn't do anything, but shhh.

That's our secret.

That's our secret.

There we go, maybe this one's got a little yaha in him, a little crook in him.

But see, you can see this one back in here.

That was done with the Black Gesso and it almost looks like a little tree that's laying back here in the mist.

It's a sneaky way of doing them.

Okay.

Just here and there, wherever you think these little rascals should live.

Maybe down here we have a few more.

Touch, use the corner of the brush.

Work back and forth.

Like I mentioned in some other series, if you painted with me before, that a lady in class one time said these were Z trees, like Zorro.

Z trees, maybe that's a good analogy.

Just sort of working back and forth, making little Zs.

Sometimes, when you're painting over, like this white back here.

There's a lot of white paint here.

Sometimes, when you're painting over that much paint in the background, your brush will begin picking that up.

If that happens, add the least, and I say that again, the least, little amount of paint thinner to your brush and go through the paint.

And it'll make it a little thinner.

And as we know, a thin paint ... Maybe right there.

Thin paint will stick to a thick paint.

And you just put as many or as few of these little devils in here as you want.

Okay, let's take... We'll take another fan brush here.

We'll take a little of that same color, and go into a little bit of Cad Yellow, a little Yellow Ochre.

Shoot, we'll grab a little Indian Yellow too.

Just mix them together on the brush.

Want it darker, so we pick up a little more of that mountain tree color.

A little bit more.

Oh, that's good, that's good.

Let's go up here.

Now then, we can come right in here.

And let's begin putting in a few highlights on these evergreens back here, don't overdo.

Don't overdo.

It gets, it gets good, feels good.

Sometimes you forget to stop.

Then it's all over.

Because if you kill all this dark area in here, then your tree's going to look flat and we want it to have shape and dimension and form.

So don't overdo, and I know that's a tendency.

I do it myself continually.

There, leave them quite dark.

Shoot, maybe, let's go up here on this big rock we're going to have.

Maybe there's even a little color.

I don't want a lot up here.

But a little, that you can see here and there on these big stones, I don't want much up here.

In my mind, the stone's a little bit further back so I don't want a lot there.

Now then, let's take, we'll take some Van Dyke Brown, a little Dark Sienna, we just do it on the fan brush here.

And maybe we have our stone lives right here.

And all I'm doing is just putting in some very basic little shapes.

Very basic little shape.

Maybe there's a big projection, right there.

We're just going to fill that in with a lot of dark color.

Shoot, maybe them old rocks project out, down.

[Bob makes "mm, mm" sounds] There.

Got to make them little noises, to get them rocks just right.

We'll take the small knife, or the big one, whichever one you prefer.

A little Dark Sienna, a little white, a little blue in part of it.

See, there's two or three different colors going on here now.

So they're just not all the same.

Just in one pile though, you can have several things happening.

And that way, you can get a multitude of things on your knife in one loading.

See, just cut across and get a little roll.

We'll go up here, and maybe, maybe there's a little light playing right through there, and sort of [Bob makes "soom" sound] so you sort of can bend that over so that rock just sort of hangs over there.

And there it comes, maybe there's ... all the way over.

Barely, barely touching the canvas.

There.

And in the shadow part of it, there's very little color.

Very little color.

Only out here where you think light would strike.

I want to keep it quite dark so it does not lose its effectiveness.

Just begin thinking about rocks and stones and how they would set in here.

You can actually just about sculpt them, as you're doing these things with a knife.

Shoot, look at here, maybe this big old rocks comes down.

[Bob makes "mmrrr" sound] There we go.

See, once again, you've got to make those little noises.

[Bob makes "tshhhoo" sound] Something like so.

Now then, we'll take a clean, and very dry, large brush and this is two hairs and some air.

Just barely touch it and begin pulling that paint a little bit.

Just a little.

There, see?

Barely, barely touching.

But you have to follow those angles in there.

You have to follow those angles, or it just doesn't work out right.

But this in one of the easiest, nicest ways of making large, effective stones that people will really think you worked for long periods of time.

And at home, you can sit and add and blend, and add and blend, until you get it exactly the way you want it.

But with this large brush here, it's the most gentle touch.

[Bob makes "whoo-hoo" sounds] That gentle.

Like a whisper floating over there.

Tap that brush into the least little touch of Titanium White.

Least little touch, just the corner, top corner.

Top corner.

And we can create the illusion of mist.

Right there.

Least little bit of Titanium White though.

It's like making a little cloud down at the bottom.

Now then.

Let's go back, get some Van Dyke Brown.

Let's come right in here.

Maybe there's another little stone.

[Bob makes "mmm" sound] Lives right there.

Right there, comes right along.

Something like that.

Something like that.

Comes on right on ... [Bob makes "tchoom" sound] wherever we want him.

And here and there, there's going to be a little...

I think we'll have this just hanging over.

All we're doing is putting in Van Dyke Brown, a little Dark Sienna here.

We don't need much, because we have all this nice dark color down here.

Okay, we'll take a little bit of our brown and white.

Barely touch, barely touch.

[bob makes "shoom" sound] Just here and there.

See, let that just ...

There we go, just barely grazing the canvas.

Barely, barely grazing the canvas.

Now then, let's go into a little bit of the Cad Yellow, Indian Yellow, Yellow Ochre.

Here and there, the least little touch of Bright Red.

I'm going to load up an old two-inch brush and begin thinking about little grassy things that live all up in here.

See them?

See them?

There they are, just all kinds of little doers.

And maybe, [chuckles] I think, let's have a little path that lives right in there.

And you can do that just by going back and forth with a fan brush.

Little place where you can step out here and see what's going on.

Right up in here, just some more little bushes that live here.

And we're going to have some of them that come right over the edge.

[Bob makes "tchoom" sound] Just sort of fall.

A little Sap Green added to that, once in a while.

See them?

All these little things in here.

And you can put as many or as few as you want.

There they come, just like so.

Wherever.

We have a huge ledge up there now.

Shoot, I tell you what, let's... you know me.

You know me.

I got a minute or two left here, so let's get crazy.

I'm going to take some of the Liquid White.

And go right through Titanium White, just to thin it down a little bit.

In fact, tell you what, I'm going to dip into the Liquid Clear.

That'll make it shine when it's dry.

Take a little Liquid Clear.

Maybe in our world, water comes [Bob makes "bloop" sound].

Right over like that, lookie there, see it?

But it's important to get that angle right.

Add the least little touch of Phthalo Blue in there.

Maybe the water changes direction and goes ... [Bob makes "pssshhoo" sound] Look at that, got to make those little noises.

Just falls right over.

That easy, that easy.

Now then.

A little bit of the Van Dyke Brown.

We have to have something here to hold this one in, so we'll use a little brown and we'll put a little happy stone that lives right there.

There we go.

Okay, a little bit of our highlight color.

Just let it touch and bounce.

[Bob makes "tchoom" sound] There we are.

Just to sort of form the stones and give the indication that there's some nice stones living down there.

With our clean brush that's very dry, gently, gently graze it, just graze it.

Maybe there's a happy little bush that lives right there.

That easy though, you can drop it in.

We'll take our fan brush that's got the Liquid Clear on it and the Titanium White.

Same as the one-inch brush had.

We'll put a little splash right there.

Waterfall hits right there, just sort of plays around.

[Bob makes "tch, poom" sounds] All kinds of little splashers happen out here.

There.

See that?

There they go though.

Just, boom, wherever you think they would fall and splash and hit.

Tell you what.

Now then.

Let's take a little touch of the Liquid White.

I'm going to put a little touch of the Dark Sienna in to that.

And with a liner brush, [chuckles] I want to show you a neat way of making some trees while we have time.

A little paint thinner, a little Van Dyke Brown.

Load the brush full of brown first.

Both sides.

Then we'll take and pull one side right through a little bit of that highlight color.

And maybe in our world, there's an old dead tree that lives right there.

And give him another one that lives right there.

And maybe a little baby one, shoot we don't want him left out.

And we'll have just, just a couple of old branches hanging off of him.

Here and there.

Shoot, I think with that, we about have a finished painting.

Think we'll call that one done.

It's quite a challenge, let me hear from you if you do this one.

Until then, happy painting and God bless, my friend.