Hi, welcome back.

I'm glad you could join us today.

Today I have a special little friend here with us that I'd like to share with you before we get started.

This is a little kestrel, and it's one of the most beautiful little birds that you've ever seen.

And he's also known as a sparrow hawk.

And he's with us today.

I've borrowed him from the bird lady here in Muncie.

And I think he's one of the most gorgeous little birds, and his name is Falkey.

And he was raised by a young man here in Muncie.

And look at that.

Isn't he something?

This is one of the most gorgeous little characters.

I hope you enjoy seeing him.

Falkey, I got to go to work.

So I'm going to...

I'll tell you what.

We're going to have all the colors ran across the screen that everybody needs to paint along with us today.

And while they're doing that, I'm going to show everybody what we've done on this canvas.

Okay?

Good.

Come right up here.

Let me show you what I've got going.

Today we've got our standard old pre-stretched canvas.

And I've taken a little bit of black gesso here and just covered this with using a sponge and the black gesso and just covered this area.

And then we've taken... Let that dry completely, and then we've taken a little bit of Midnight Black, Dark Sienna, and a touch of Prussian Blue.

And I've just covered this whole thing here.

In the white area, we've put just a tiny bit of Liquid White.

So with that, we're about ready.

I hope you liked seeing that little kestrel.

That's one of the prettiest little devils.

There, let's take a little of the same colors.

We'll use Midnight Black, a little Prussian Blue and some Dark Sienna.

There, and let's just go up in here, and let's just begin playing a little.

I'm going to let that color come right on out here and just sort of dance it around.

I thought today we'd do a scene like maybe you're deep in the woods.

Deep in the woods.

So we have all of these little shapes and stuff in the background.

I don't want to blend it too much today.

I want to leave all of these irregular patterns in there.

There, so it'll look, hopefully when we're all done, it'll look like maybe there's light shining through undergrowth that's far away.

Something about like that.

A little more of the color.

And we'll put a little something in here, too.

What the heck.

And just let it blend back into this dark area.

Now the reason I use this black gesso is because any time I'm going to have a lot of area that's going to be dark in a painting, and I know that in advance, if you use the black gesso, it saves you a tremendous amount of work.

And a little of these patterns will show through, and it looks like things that you've spent months working on.

And it's our secret.

It's our secret.

Okay.

That's about all we need for back in there.

I'll tell you what.

Today, let's, let's have some fun with our little oval brush.

And I'm going to go basically into those same colors.

Maybe, maybe I'll add a little Van Dyke brown to it.

I'm going to darken it a little bit.

Van Dyke Brown, Prussian Blue, Dark Sienna, a little black.

And with that, let's go up in here and let's start picking out some little basic shapes for trees and bushes that live way back.

And all I'm doing is just tapping.

Just looking for very, very basic little shapes.

I'm going to take the same colors.

Add a little white to it.

So it'll be a little lighter.

Right there.

Put some little distant tree shapes.

There we go.

All kinds of happy little things back in here.

Okay, maybe, maybe right there.

You just sort of have to make up your mind where you think a little tree would live and drop him in.

This oval brush does fantastic things.

I really like it.

And it's easy to distinguish.

It has a black handle, where all of our other brushes have white handles.

There.

Okay, see, but that easy it begins giving us some basic little shapes back in here.

We're not looking for a lot of detail yet.

Now, take the same old dirty brush, and go right into a little of the yellows.

I have Indian Yellow, Yellow Ochre, Cad Yellow.

But just a little.

Be right back.

Get a little touch of the Sap Green, too.

Not much color is on the brush, and I'm giving it a little push.

That'll load the tips of it.

Here, we can go in here and begin picking out some of the little highlights that we see.

And I want to keep these quite subdued.

Quite dark.

I don't want them to get too bright yet.

There.

Now, these are the ones that are far away.

Far away.

We don't see hardly anything as far as detail goes.

It's too far.

And if you add too much detail, then you're going to lose that illusion of distance.

There we go.

These kind of scenes remind me of when I used to live in Alaska.

I used to spend a great deal of time just sort of walking through the woods and looking at the little creatures.

And I used to hunt with a camera.

Bring them back on film.

That's the way to do it.

Okay, see how you can make all those little tree shapes?

And I'm just sort of dancing back and forth between the various colors.

Once again, I don't want this to get too distinct and too bright.

Yet.

We'll have some brightness in the foreground.

But not yet.

Let's take those same colors on the liner brush.

On the liner brush with a little paint thinner, bring it to a nice sharp point.

And let's begin picking out some indications of little stems and trunks and limbs and twigs, whatever.

All those little things that you see when you walk through the woods.

There.

Just sort of look at the foliage back here.

And think where a little limb would like to live if it had its choice.

Which it doesn't, but in your world it does.

There we go.

Put as many or as few as you want.

Now then, we can begin working a little closer.

Same colors.

Get a little Sap Green.

A little of the Cad Yellow.

Yellow Ochre.

Indian Yellow.

And then I'm going to touch the least little amount of the Bright Red.

Sometimes I use Bright Red as a duller.

[chuckles] I know it sounds crazy, but when you put red and green together, it makes a beautiful brown.

So sometimes red is used to dull color.

There we go.

Now we can begin putting in a little more detail.

And look at those beautiful little soft things that you can make with this.

There.

Just barely touching them.

But you have to still think about shape and form.

Don't just hit at random.

If it helps, give each one of these little bushes a name.

There we are.

Same right there.

There's one.

We have to give credit to Richard the cameraman, because he took that little bird.

And the first time he had ever handled one of them little rascals.

I'm telling you, it has some very sharp claws on it.

But he was brave.

He was brave.

He'll probably want a raise now.

There.

Pick out all these little things.

See, now there's a little of the Bright Red in there.

Just a tiny amount.

Just gives it sort of an orangey flavor.

There.

Let's step back and take a look at how your limbs and leaves are coming together.

If you don't like them, change them.

You have unlimited power here.

You can do any old thing.

Darker and darker down in here.

Maybe... See, there's one that's got quite a bit of the Bright Red in it.

It's gorgeous.

I like that red so much, maybe I'll put a little right there, too.

In your world, you put any color that makes you happy.

Painting is as different as people are.

All right, maybe right in here we have another little bush.

But see how this little oval brush just makes layer after layer after layer of these little rascals?

And it's very easy.

Even if you've never painted before, this one will make it easy for you.

That's the reason I designed this one.

Because people were having some problems until they practiced with the other one.

This one, no problems.

There.

But you do have to worry about shape.

You can't just throw things in.

You need to leave some dark areas in between so there's depth and distance.

Now then.

I'm going to go back to my little liner brush.

A lot of paint thinner.

And those same colors.

The background colors we were using.

Let's go in here and put an indication of a few more little sticks and twigs.

You have to have some of those in there to bring it all together.

Something to support it all.

There.

Okay, just wherever you think they should live.

And you only see pieces a lot of times.

You don't see the entire tree trunk.

You only see little pieces that stick out.

And over in here, the same thing.

Need a few more over in here.

But these little sticks, once again, they help create that illusion of distance in your painting.

Okay, now we can start working forward in this.

I'm going to take another oval brush.

I have a couple of them going here.

I'm going to take some Dark Sienna.

We'll use a little of that black again.

A little Prussian Blue.

Same colors.

I'll probably use those throughout this painting.

Just tap a little color in there.

And maybe we have a nice bush that lives right there.

I want this one to be brighter, so I'm making the dark ground... the background dark ground.

Boy, sometimes your tongue gets over your eye teeth and you can't see what you're saying.

Make the background [chuckles] a little darker so our lighter color will show up better.

There we go.

Okay, now then.

Go back to my other oval brush.

And let's take, we'll go into some yellow, yellow, yellow.

Be right back.

Grab a little of the red.

Ooh, nice color.

Very nice color.

Now, just by touching, we can begin making all kinds of little things back here that are much brighter.

See, if you didn't have that dark back there, it wouldn't show up as well.

You need that dark, because that dark's going to be our shadows.

That's going to be our deep shadows.

I'm going to add a little of the red to that.

Ooh, that's nice.

That is nice.

Just tap.

See that dark area there?

That's the most important part of that bush.

And I know I keep saying that, but if it doesn't work for you, that's probably what's happening.

Because this starts working so well and feels good and you get carried away, and the next thing you know you've killed all of those.

They've just gone away.

So be careful.

Don't let them get away from you.

They're too valuable.

Too valuable.

There.

Okay, now I think it's time to really get crazy.

Maybe, maybe in our world, I'll tell you what, maybe there's a big tree that lives right there.

You know me and my big trees.

Let's take some of that black and blue.

Dark Sienna.

Once again, I'm going to use these same colors.

Okay, we're going to load this brush to a chisel edge.

And we do that by pulling it through the paint and giving it a little wiggle.

And you can load it so it's quite sharp.

See there?

Good.

Now with that we have to make a major decision here.

Maybe we're going to have a tree that lives right there.

We'll put the indication of a little trunk.

Just something like so.

This tree lives right off the top of the canvas somewhere.

And it's deep in the woods.

Deep in the woods.

Maybe it didn't get a lot of light sometime.

So it's skinny in places, and maybe in other places it's big and heavy.

There.

I like to do trees like this.

They're so gorgeous.

I like these old evergreens that just have the big hangy-down limbs on them.

Hangy-down limbs.

That sounds like the name of a song.

There we are.

Okay, just let it go down farther and farther.

There.

Maybe to about there.

That's good.

Let's give him a friend.

Shoot, you know me.

I think everything needs a friend.

Even a tree.

Even a tree.

Let's give him one right there.

Okay.

Right over there.

You just sort of work back and forth with this brush.

Just back and forth.

Create all kinds of beautiful effects.

There.

Okay.

Maybe in our old tree here we can make out here and there a little touch of trunk.

So we'll just take some white.

A little Dark Sienna.

A little roll of paint on the knife.

Let's have the light coming from that direction.

You have to make these big decisions.

I'm putting the indication here and there of a little bit of the trunk that's showing through.

You don't want to see much.

Don't want to see much.

I'll tell you what, let me wash one of these oval brushes.

[laughs] That one's not as much fun as them big ones.

They splatter everywhere.

Now then, we'll take some of our yellows.

Yellow Ochre, Indian Yellow, a little bit of the Bright Red.

Just sort of mix them all together.

And let's put a few highlights on these trees.

Let's let them shine out here in the light.

We said the light's coming from the left over here.

So in that case, we need to have it a little bit brighter on the left side than it is on the right side.

There.

Okay, maybe here and there we'll go into a little touch, a little touch of the Bright Red.

Oh, isn't that pretty?

Isn't that pretty?

See how you can make these old trees just sort of hang down?

There they are.

Wherever, wherever, wherever.

There.

All right, right on down into just darkness down here.

Let's do that on the other one, too.

Same colors.

Same basic colors, here we come.

Pay attention to shape and form though.

There we go.

Now if you have trouble making this stick, or if you want to put a little sheen, a little shine on it, dip your brush in a little bit of the Liquid Clear and then do this.

It makes some of the most beautiful effects you've ever seen.

Beautiful effects.

And when it dries, as I say, it'll have a little shine to it.

It'll almost glisten.

In fact, let's do that.

I'm going to dip it into a little Liquid Clear.

What the heck.

Because I want this one to shine when it's dry, too.

But don't overdo.

This is a special little gift in your painting.

Don't overdo it.

Because it'll lose its effectiveness if you do.

Just here and there.

Just here and there.

And that rascal will shine in the sunshine.

Sing.

There.

And here and there, maybe we'll add a little touch of the Sap Green.

I don't want much green in this tree.

I want it to look...

There, like how all these colors are just shining through.

Isn't that a gorgeous little tree, though?

That old oval brush will do that for you.

Now, back to my Sap Greens, all that.

I'm going to grab a little Alizarin Crimson and throw in there, too.

Right in with that ochre.

Whoo, ooh, that's pretty.

Alizarin Crimson and Yellow Ochre makes some beautiful colors.

Now then, let's begin putting all kinds of little things that are living here.

In my mind, the light's coming right from that direction and shining across.

So that's the way I want it to look.

I'll grab a little Dark Sienna and put in there with it.

I'm just varying all these colors.

I want to keep it in the brown tones, though.

And the yellows and oranges.

Nice, nice, fall-looking colors.

There we go.

Wherever.

Darker, darker, darker over in here.

I want this to sort of fade out.

We'll have one bright area right in here.

The rest of it we'll let be much, much darker.

Now if you really want to make it look nice and bright and shiny... Let's just drop this in real quick.

In a couple places where light would strike, I'll show you how to do that.

I'll put in a little background color here real quick.

There.

Watch here now.

Right in here, maybe that'll be our bright spot.

I want to take... Let's go into a little bit of the Titanium White.

Just a little, and we're going to really brighten that color.

Think where light would strike.

And in my mind, it's going to hit right along in here.

There.

Or maybe right here.

Wherever.

But this will be the brightest spot in the whole painting.

We'll just sort of let that fade right on out as the light gets behind the trees and everything.

Just a little maybe here and there zings through, but most of it's gone now.

There.

And that's the only time in this painting we'll use that.

Now then, let's just begin working forward here.

Still using all the little fall colors.

There we are.

But isn't that a neat little brush that works so well?

A little highlight here and there.

You could do entire paintings using nothing but this.

Nothing but this brush.

If you wanted to.

If you wanted to.

There we go.

I tell you what let's do.

You know me, I like old big trees.

I think maybe we're going to really get crazy.

Really get crazy today.

This is your bravery test on this painting.

Let's go up here and grab a big bunch of this Van Dyke Brown, a little Dark Sienna with it.

Pull it out flat.

We can get a big roll of paint on our knife.

You ready?

Our tree is going to live [Bob makes "pssshooo" sound] right there.

As I say, this is your bravery test.

And when I said big tree, I think I meant big tree.

[Bob makes "tchoooom" sound] I like to do these old big ones sometimes.

They're a lot of fun.

The big old tree lives right there.

Just comes right on down.

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

Over on this side.

There.

Mm.

I told you that was a big tree.

I told you that was a big one.

Okay, maybe, take a little brown and white I happen to see laying right here.

Okay, maybe a light's zinging right through here.

Just like you were putting snow on the mountain, though.

Just touch it.

No pressure.

No pressure at all.

We'll just let it wander right down the side there.

This Dark Sienna and white.

There we go.

Mm.

There.

Isn't that a super easy way, though, to make very nice little bark-looking areas on the tree?

Works well.

And maybe, I'll tell you what, maybe there's another one here.

Maybe it had a friend that fell over.

The old tree fell over.

It had a bad day.

A big wind came through here and crashed it.

Maybe it was a long time ago, and it's starting to deteriorate away now.

You know if you see old logs in the woods there's places where it rots faster than it does other places.

And it comes out looking funny.

Maybe it goes all the way off the canvas.

There, look at that.

Now then.

Boy, we really did put a big log in there.

Let's take some white, a little Dark Sienna, a little touch of the Yellow Ochre in there, too.

Get our little roll of paint right on the edge of the knife.

Now all we have to do here is just touch.

It'll pull off what it wants.

Like there's a little light zinging in right through there.

Now, I want it to look like it's open, so I'm going to leave the dark on the end and work back.

And I'll allow it to pick up that dark paint so it gets darker and darker and darker as the light slides over the top of this.

Maybe back here there's a big old root that's still hanging on.

But it's going to get into shadow there pretty soon, and we're not going to be able to see a whole bunch.

The light playing right through there, but it gets darker and darker and darker.

There, very quickly it gets darker.

Just make that highlight on top.

Mm.

Look at that old log.

[chuckles] See him laying there?

All right.

All right.

I like them old rascals.

Sometimes it's fun to take this little brush, and instead of using it sidewards, go straight in and give it a little push, and it'll make like little ferns and stuff that sort of hang over.

Like so.

A little more color.

Then we can go back and just begin tapping in all kinds of little things.

Get a little more of this Sap Green.

There we go.

But vary the colors and put them in the way that you want them.

Just however you want them.

There.

I want it to get much darker here in the foreground.

Much, much darker.

In fact, we're using very little color now.

Very little paint.

Darker, darker, darker.

Darker.

It's behind this log that's fell down.

Very little light's going to sneak over here.

There.

And we're just basically going to fill the rest of the canvas up here with some little, little things like that.

Now then.

Here and there maybe you want to show a little more detail.

And you can do that by just adding a little color.

But I don't want a great deal.

It'll lose that effectiveness.

Keep it dark in the foreground.

There we go.

Okay, tell you what let's do.

Let's grab our liner brush.

Going through that.

I'm going to get some Van Dyke Brown and a little Dark Sienna.

All right, make it very thin.

And let's go up in here and maybe our big old tree here has got a big limb that hangs off right there.

[Bob makes "Squmch" sound] But wiggle it and jiggle it.

Let it be a loose, flowing limb.

There, look at that.

That limb's got character.

It's not just a plain, old limb.

It's got character.

There's one up here.

It's just sort of hanging off.

[Bob maes "rr, rr, rr" sounds] You got to make those little noises to get it to bend right.

[chuckles] All right, and just however many you think should, should be showing on this.

There.

There we are.

A little bit of light color on top.

And you can highlight those a little.

Just to make them look a little nicer.

A little light's zinging through there, too.

We can to take a little bit of the yellows and greens.

A little paint thinner.

And here and there we can just pull up a little, little grassy things that live in there.

Wherever you think they should be.

There.

How's that?

If you wanted to, you could even end it by maybe putting an indication of a big one right there.

[Bob makes "tssoo" sound] Maybe an old dead one.

There we are.

Put a few little limbs on him.

I think we've got a pretty nice little scene that looks like it's real deep in the woods.

I hope you enjoy this one.

From all of us here, I'd like to wish you happy painting.

God bless, my friend.

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