[Music] Hi, I'm Nicholas Hankins.

Welcome back to the painting studio for some more Bob Ross wet on wet technique fun.

Come on up to the canvas and join me.

Tell you what, I've got an 18 by 24 inch pre-stretched, double-primed canvas up here.

It has already been covered with a thin, even coat of the liquid white so it's wet and ready to go.

Let's grab a, let's grab a two inch brush here.

Same one I was applying my liquid white with just before you joined me.

I'm going to pick up some phthalo blue, maybe a little touch of midnight black with it.

Phthalo blue and midnight black.

Just tap that into the brush.

Let's come up here and start creating a, just a happy blue sky.

Grade it down a little bit.

I want sort of a summertime feel.

So just add a little bit of that hazy gray to it.

A little midnight black to gray it down.

I'm going to have some big billowy clouds in here too so I might leave a couple little places kind of, kind of open so it's not so perfectly uniform.

And obviously as we work down lower and lower and lower, your, your paint is going to mix with that liquid white and get lighter and lighter and lighter as you work down, which is just exactly what you're looking for in a landscape.

Let's add a little phthalo green to our black and blue, and we'll come back up here, and I'm just going to pull from the outside edge inward, outside edge inward.

We'll put a little water down here.

I want some water in this painting.

Not one hundred percent sure exactly where it's going to land so I'm just going to put it all over and then we'll cover up whatever isn't supposed to be water when we make that decision.

But we don't have to make that decision just yet.

Let's wash a brush.

Wash our brush out in some good old odorless thinner.

Shake out the excess.

And beat the devil out of it.

Got to do it.

Got to do it.

We need a little blending.

We need a little blending on this sky so make sure you have a nice clean, dry brush.

And we'll come back up and starting in the light area, we'll work our way up.

Up, up into the dark.

Just soften some of those brushstrokes and harsh lines.

Just bring it all together like that.

Let's come down into the water and I'm going to do the same thing, but I'm just going to brush level.

Nice level strokes straight across, back and forth.

There we go.

That ought to work.

Park that brush there for later and we'll build some clouds in this sky.

Big, puffy, pretty clouds.

Let's take a little one inch brush with some white, little tiny touch of bright red.

Whew.

Just a little.

Just a little will warm it up.

Will warm it up.

Okay, let's come back up here and we'll decide where we want some puffy, billowy puffy, billowy clouds to live right up here like this.

There we go.

Just make them as bright, as bright white or as soft and subtle as you want them to be.

That's entirely up to you.

There's one layer in the background.

Blend out the bottom just using the top corner of that two inch brush and tiny little circles, and we'll fluff it up with big, big, big, big circular motions and just two hairs and some air and float across.

And that's all you got to do to paint a little cloud.

Don't you wish everything was that easy?

I certainly do.

We'll take a little more and let's come back and have another little layer of clouds in our sky.

Just bouncing along here, having a big old time.

There we go.

Wanders right off that side over there.

There we go.

Once more, I'm going to reach for that two inch brush.

Blend away the bottom first, that's step one.

Step two is, give it a little fluff with big circular strokes.

And step three is just a final blend all the way across.

There we go.

I kind of like to finish it off with another little fluff, though.

I think it looks pretty when they're sort of expansive like that.

All right, let's take the old palette knife.

I'll just gather up some of that, some of that leftover cloud color, and I'm going to add a little, a little phthalo blue and alizarin crimson to my mixture.

Get a real pretty sort of, sort of lavender, maybe a little to the red side, plum side.

Not very dark.

Not very dark, yet.

We'll get there.

Find a fan brush.

I like that one.

Looks pretty good.

We'll load that old fan brush full of this color just on both sides, and we'll come back up here, create a little, little mountain top, little mountain top in Tennessee.

Or North Carolina, maybe.

I must be kind of homesick for the Smoky Mountains.

I've been painting a lot of those lately.

Dear old Appalachians.

There we go.

[Nic makes "ssssooo" sound] Just fill it in a little bit.

I'll take that two inch brush, grab this and sweep it out.

Just, just as we do with the, the big snow covered mountains, the Alaskan mountains and Rocky Mountains that we paint so often.

Just grab that color and sweep it out.

It should be nice and misty and soft at the base.

Just, and just using your brush strokes you can kind of suggest different little angles in your mountain.

That's kind of neat.

These are a little, a little more subtle, but they're still pretty.

They're still pretty.

Keeping on with that same idea, I'm going to add a little midnight black and a little, maybe a little Prussian blue to my color.

And some more crimson.

We're going to go a little darker.

Same idea a little darker.

Let's come back once again.

This range is a little closer.

Can you see it?

Can you see how it's a little darker?

It's going to cut down in front of that one.

Maybe it, maybe it bumps back up right there.

Starts back up on this side.

I don't know, I don't know.

That part's up to you.

It's up to you to make it attractive.

Make it suit you.

Just fill all that in a little bit.

Comes up on this side, maybe, maybe about like that.

This isn't a particular mountain really.

I'm just kind of making it up but goodness knows, I've, I've looked at enough of these through my life to just be able to kind of ad lib them a little bit.

I grew up at the, the foot of these mountains.

There are times I sure do miss them.

I love to go home and visit and see them again.

I'll be heading that way pretty soon actually.

Looking forward to it.

Nice, misty and soft at the base.

Those little misty areas in there.

Whew.

They're so important.

They are so important.

I can't even tell you.

I can't even tell you.

Let's pick up some Prussian blue, maybe some Van Dyke brown.

We're going a little darker still.

Just a touch of that crimson.

And still yet closer, closer, closer.

They're starting to appear, they're not quite green yet, but they're getting grayed down.

They get close enough they'll start to look green.

But in a, in a landscape, in the distance, things just sort of they tend to take on the color of the sky, which is why distant objects always look sort of like a hazy purple bluish gray.

They've got all that sky influence, and I'm back to my two inch brush once again.

Grab it and sweep it and pull it out.

We're down into the valley now.

There we go.

And see, I'm still thinking about a mountain.

I'm thinking this is going to slide this way.

This side's going to slide that way.

And I'm just, I'm relying on the, on the slope that I established with the outside shape to dictate that.

There we go.

Shoot, we've got a nice little range of Smoky Mountains back there.

All right.

Let's, I've got a little one inch brush that's kind of in progress here.

It's got some white in it from my clouds.

That'll be all right.

Let's just jump right back into that little pile of color, and we'll continue to doctor it, flavor it a little bit.

I'm going to add some more Van Dyke brown, a little Prussian blue, a little black and a little sap green.

Man, we're going to start seeing some green in all of this.

Tap, tap, tap, tap, tap.

And a little more texture.

We're into some, some smaller footy hills down here.

I'll just take that brush and tap, tap, tap, tap.

I'm going to create a little top outside, silhouette shape that I like.

Tap, tap, tap, tap, tap.

And then continue to fill it in just a little bit.

Go back and grab more paint as you need it.

I'm just varying the top a little bit.

I'm kind of turning the handle in my hands as I go.

Tap and give it a little turn and follow those little angles.

How do you think those, how do you think those things are constructed?

How would they sit back there?

And that's the way you turn your brush to match it.

Creates some really beautiful things that way.

Let's go a little bit darker right there.

Yeah, in front of that hill.

Kind of lost that one.

Then we'll pull that one in front of that one.

I added a little more brown and blue, a little taste to sap green.

Well, we've got some variety in those hills back there.

There we go, something like that.

If you want little, little, see little tree tops on top of that you can take your brush and just sort of pop that color straight up, grab it and just pop it upward.

[Nic makes "tch, tch, tch, tch, tch" sounds] Just pull it straight up.

Like that.

Gives you the impression of lots of little trees and all kinds of neat stuff on those little hills back there.

Go back to my big brush, and I'm gonna tap this just a little bit.

Soften it, soften it, soften it, soften it.

I need a little mist at the base of those hills too.

Something about like so.

There we go.

It's just possible we'd see a little reflection from these down in this, in this lazy river.

So we'll go ahead and plan for that and pull some of that color down into the water while we have it on the brush.

Kind of take care of that step while we're in the neighborhood.

And let's keep going with this brush now.

Let's grab, let's grab a little brown and crimson and sap green.

Lots of good darks here.

I've got brown, crimson, sap green, a little blue and black.

Just going for lots of good dark color.

And then we'll tap, tap, tap, tap into that paint.

Push up a little ridge of paint.

And we're going to come back once again, find a little closer land down here at the, at the base.

This is where it extends out and on down to the water.

Pull a little bit of that into the water as well.

There we go.

Brush across.

And let's see, tell you what.

I'm going to kind of let this soften and dissolve here on this side.

Soften it back into those hills.

And maybe we see about right there, starting about right there, I think, I think I need a little water line right there, too, before we get too far along.

I'm going to go ahead and take a little liquid white, titanium white, separate these dark areas just a little bit like that.

All right.

Now, back to my dark color.

Let's come in here and have a closer, closer piece of land that comes down.

[Nic makes "tchooka, tchooka, tchooka, tchook" sounds] Got to make the little noises though.

A little closer piece of land right there.

And once again I want to see a little reflection from that into my water.

Soften that and blur it just a little bit.

Shoo.

There we go.

And let's go ahead.

Let's grab some quantity.

I've kind of been avoiding mixing a big pile, but I need it.

I need some blue and black and brown.

Crimson, sap green.

Lots of good dark color.

Pick up a clean fan brush now.

Get just a little drop of paint thinner on it.

So I've got to paint over some layers of paint now.

We'll load that brush nice and full, full of that dark color.

And let's come back in here and decide where we've got a little tree living.

I got one right there.

Got one right there.

Give him a companion.

A little companion tree.

They're such good companions, there's a little tree there now.

Maybe one more right there.

There we go.

Just a whole happy little family of trees.

Give him a little, a little sharper tree trunk.

A couple little stalks back there.

Take a little white, brown, sienna, mix it together.

Pull it out nice and flat.

We might see just a little indication of a trunk on some of the bigger ones.

And I'll go back to my little fan brush that I was painting the, the mountains with.

It's got some lighter color in it, but I'm going to pull that now through some yellow, a little sap green.

Liquid white will help it stick.

We might even take some of that tree base color in there.

I don't want this getting super duper bright.

Keep these, keep these kind of dark.

I want that nice dark contrast in there.

There we go.

Pick up our cleaner two inch brush from earlier.

A little liquid white in that and I'm going to grab just a touch of all those yellows, a little sap green, kind of a random mixture and tap it into the brush and we'll put some highlights on this piece of land out here.

There we go.

Put a little soil under here to keep it from just tumbling out into the water.

Got to have some solid footing for that, for that land.

Give it a little highlight there.

Whew.

That will bring that edge together.

Just let some of that grass grow down over the dirt and sort of, sort of make it belong and give it a little water ripple too.

There we go.

And I feel like it's kind of a hole right there.

Let's plug up that hole.

[chuckles] Take some, take some of that dark color on the one inch brush and we'll put some leafy foliage back here just by pulling the brush in one direction through the color and then pushing up.

There we go.

Take that same dirty brush and dip it a little bit of the liquid white and I'm gonna, I'm going to load it the same way through my light color Through some of the cadmium yellow and we'll come back, just barely touch.

Whew.

Put some nice little highlights on those bushes.

Just don't kill all the dark.

Boy, that's important.

It's extremely important.

Don't kill all the dark.

Scratch in a little stick and a twig or two back here.

All right.

Now, let's jump to the front.

This will be fun.

This will be fun.

Let's, let's take that two inch brush and load it up nice and full.

I'm going to come on this side and have, a big old tree lives on this side.

There he is.

I told you one lived there.

This side, we're just going to kind of fill it in.

It's rather dense over here.

Lots of foliage.

But out here on the edges, we can kind of make out some pretty lacy things.

That side's very, very dark though.

Let it fall on down.

Sort of like that.

And then down in front.

I'm just going to pull that two inch brush through there in one direction.

And we'll have some more of these, more of these bushy things that live down here in the front, kind of like that.

Looks a little mangled and gnarly right now, but we have ways prettying in that up.

We have our ways.

In fact, I think you could make it stand to have just a little more coverage.

Yeah.

Right there.

Like that there.

Sometimes you have to step back, take a look see at what you got.

It's hard to tell when you're right up, right up on it.

We'll grab a little dark sienna, Van Dyke brown on a, on a fan brush.

I'm just going to, pardon me for a moment.

I'm reach and grab a little titanium white and dark Sienna, make a little separate pile to the side here.

So I'll load it up with dark and then pull one side of that little fan brush through the light color.

So I have my dark on one side, my light on the other side.

And we'll paint a little tree trunk in this, in this old tree here.

Give him a, give him an arm.

There we go.

Take a little paint thinner, a liner brush, give him a little indication of a twig and a branch or two.

We're going to lose some of that detail, so I'm not particularly worried about it.

Just to, just enough to say it's there.

Now, let's go back to our nice, nice light color two inch brush.

Grab a little bit of all those yellows.

I don't know, maybe a little phthalo green just for, just for a change of pace.

Tap it into there.

Let's come back, put some beautiful little highlights on this tree.

A little touch of the liquid white too.

I want to make sure it sticks really well over all those thick layers of paint.

Thin paint of course, as you know, will stick to a, thin paint will stick to a thick paint.

That's our golden rule in this technique.

Thin paint sticks to a thick paint.

And it works again.

It works again.

There we go.

A little touch on those.

Maybe a little something grows right out there.

I'm going to grab my little one inch brush again, put some vegetation down here.

Just all kinds of beautiful little highlights.

I want to cover up the, cover up the foots of that tree.

I can't leave that showing.

That just anchors it into the painting.

That's primary purpose of that.

Let's add a little bright red.

Maybe just, just change that color.

A different kind of plant there.

Whatever it is.

A little on those.

Take a knife and a little Van Dyke brown.

We can have, mm, maybe a little exposed soil right there.

[Nic makes "sssooop" sound] Take a little of my white, dark sienna, and Brown.

Make a nice marbled mixture of that and cut across.

[Nic makes "shoo, shoo" sounds] Just barely graze it.

Give it some texture.

Give it some texture.

And we'll kind of plant that in there, cover it up.

Settle it down into the painting a little more.

Something like so.

Scratch in a little stick and a twig in here too.

Got to of have something to hold all this up.

You know, oftentimes in, in settings like this, especially back home in the summertime, we have little a, just take the filbert brush and some liquid white and titanium white.

Sometimes you see little, little Queen Anne's lace growing out in the wild and that's always pretty.

Just little dots of, kind of like, kind of little curved dots of white like that.

Just sort of dot those little areas that are out in the wild.

I always thought those were pretty.

Put a little, some of them you might see a little stem.

They grow in little clumps, little clusters.

Maybe there's even a little, little grass growing up out here.

It's kind of tall.

I don't know.

Anyway, reminds me of home.

I hope you enjoyed this painting and I hope you'll join us again next time.

Happy painting and take care.

[Music] [announcer] To order Nicholas Hankins' 68 page book with 13 painting projects or his companion DVD set, call 1-800-BOB ROSS or visit BobRoss.com [music] [music]