[music] Hi there, welcome back to the painting studio.

I'm Nicholas Hankins and I hope you're ready to paint Bob's beautiful seascape that he created for his 32nd Joy of Painting series.

It'll be my pleasure to bring, bring this painting to you.

And if you'd like, follow me on up to the canvas here, and let's take a look at what I've got going on.

As you can see, I've been hard at work.

I've painted the canvas with some black gesso.

But just prior to that, I applied just a little bit of sticky back contact paper or self-adhesive masking paper.

It even has a nice little wood grain pattern to look at while we're, while we're painting.

Stuck to the canvas, coated the center with some black gesso, which is a water based paint, and it dries very quickly.

So once that was dry, I've applied a [chuckles] very, very thin coat of liquid clear to the canvas and then a very thin mixture of a mixture of Prussian blue and midnight black, about equal parts.

So with all of that on there and all that ready to go, let's take a little one inch brush and we'll get started.

I'll show you how to paint that little ocean scene.

Love this little painting.

It kind of, kind of reminds me of almost like a stormy night out on the sea.

That could even be lightning off in the background.

But we'll take a look at how to create all that beautiful stuff.

This is just titanium white that I've picked up here.

And as you can see, it's turning this sort of brilliant, beautiful blue.

Just adding a little bit of light back here into the background and I'm kind of using a cradle type stroke or a rocking stroke, as you can see here, just to put a little motion into the sky.

Like that on up here.

Something about like so.

And then close by, handy and ready to go, I've got a clean, dry two inch brush that we'll use to just soften this.

And I'm going to do, I'm going to do several passes of the sky with a couple of different ideas.

We'll smooth that down first.

Soften down any real obvious brush strokes that we want to get rid of.

Easy to blend that stuff, which is nice.

Let's take a, let's take a little fan brush and I'm going to pick up some titanium white now.

And just load that brush nice and full on both sides.

Like I say, this is one of the little small fan brushes.

This is a number three fan brush.

And let's come up here and find some very bright and again, making this, I'm exaggerating again here, but kind of making this little rocking stroke.

I'm just going to kind of let this light dance outward and just kind of catch a little bit of the clouds, a little contour from the clouds.

It'll sort of zig and zag back and forth.

Almost, I almost get the impression that Bob was sort of creating like a little flash of lightning in the clouds or something like that.

At least that's, that's what it feels like to me.

But that's, that's part of the fun of painting is everybody can look at that as something just a little different.

And that's the best part of it.

You bring your own experiences to the canvas, whether you're painting the painting or you're just looking at the painting.

It means a little something different to everybody.

And I think that's great.

I think that's great.

And here we go.

Just a, just a fun little, just fun little sky to make really.

So much movement in that.

Let's go back to our big two inch brush.

Graze over that, just light as a feather.

Got a little, [chuckles] got a little bristle in there.

We'll remove that.

Keep on going and if you do happen to catch a little brush bristle in your painting, just kind of take the corner of the brush and flick it off like that and they, they come right, right off real easy.

Tell you what, let's go, let's go with another little fan brush.

But this is a, this is a clean one I'm going to pick up a little combo of black and blue, Prussian blue, midnight, black.

And we'll add just a little, just a little darker, darker cloud motion up here, up in the top.

Just making little circles, circular motions with the corner of the brush.

See that, just little circles like that.

There you go.

Dance around wherever they want to go.

As you've heard Bob say many times, just knock off the excess paint there from my brush, clouds, very, very free little things.

They take on all sorts of different shapes and forms.

They float around and do what makes them feel good.

That's how we should paint them.

Very freely, nice and loose, just sort of let them, let them do their own little thing.

These are going to bounce around and wind around, just kind of all over the place up there.

Looks like the bottom, bottom part of a big storm cloud or something up there.

Pretty, it's pretty.

I want just a little more light down here near the horizon, something like that.

That's just a little bit of white that I had left on my brush.

You might even decide that you want a little more light up in this portion of the sky in between the darks.

Sometimes that makes it glow just a little more.

See that?

Just, just magnifies all those darks.

Makes it pretty.

I like these little subtle skies like this.

Just have a lot of, a lot of neat stuff going on.

And again, I'm going to soften very gently with the big two inch brush.

That's what Bob would call two hairs and some air there.

A little more of that dark down here.

Just a little, just a little something.

Just a little something there.

There we go.

All right.

Now let's get on down to the water, see what's happening there.

Just wipe that big brush out and we'll put it aside for the moment.

Let's take a look at this and see what happens.

I think the first thing we need to do, I'm going to go back back to my number three fan brush.

The first thing I want to do here is just get an idea of where the little horizon lives.

And I want this to be reasonably straight.

So I'm going to jump in front here just for a second.

Make sure I'm at least straight on, on a very basic level.

[chuckles] T?here we go, reasonably straight.

Then we can start thinking about where all of this stuff lives.

And Bob's got a couple of little swells coming into the background so I just let my brush sort of bobble along there.

We'll kind of lay everything out here.

Then we can actually grab we'll grab a clean, clean, dry brush and then I'm just going to grab the top of that little swell and pull it back again with a little rocking stroke.

Watch this.

See it blend backward.

What you're doing here is creating the low point just behind that wave.

This is the trough of the wave.

And this will make even more sense when I come back and I add another right front of it, say right about here.

And again, back to our little clean fan brush, that fan brush that has just the, just the residue from the last one there.

And I'm going to make those little rocking strokes again.

And watch it form a little, a little low point between those two waves.

[chuckles] Isn't that neat?

That never ceases to fascinate me.

That's such a, such an effective little thing.

Easy way to paint water.

Easy way to paint water and it's fun.

And it's fun.

That's probably the most important.

Add a little more light back there at the horizon and then we'll, we'll get an idea of where we got a big, big crashing ocean wave in this one.

So let's figure out where that one lives.

So it's a little brightest point of the ....

The breaking part of the wave is going to be right below that light and then it's just going to kind of wiggle out that side.

It'll be the crest of the wave there.

And it kind of falls and breaks there and it splashes up on this side and then it kind of carries on off over there somewhere.

We don't know exactly, but we'll figure it out as we go.

There's foam living in there.

So we'll play around with it, see what we want to do.

I'm going to have a filbert brush handy.

Remove a little white from that point on the palette.

I'm going to move it down here to a clean spot and add just a tiny little touch of cadmium yellow to it, mix it together.

Make a real pale yellow.

And before we apply that, there's a beautiful, like a jewel tone green glow that happens when the light comes through the back of the wave.

So I just want to take my, maybe my little dark fan brush that I had going earlier up here.

And I'm going to pick up a little phthalo green.

Just right on that same dirty brush.

It's all dark, so that's fine.

Let's take a little bit of this phthalo green up here.

And I'm just going to, just going to kind of brush it into this area.

This thin water part of the wave.

And maybe a little over here as well.

Now phthalo green and midnight black, Prussian blue are transparent colors, meaning we can see right through them.

When you put them on a black canvas, they still look dark.

But you won't believe some of the cool stuff that happens.

Maybe we'll just kind of soften that and brush it and brush it down.

Make sure we have a nice thin coat.

I don't want any build up on there.

But when you apply these transparent colors to the canvas, we can see right through them and the canvas still looks dark.

White, on the other hand, is opaque.

So now when I take some of this opaque color on my little filbert brush, this white, a little touch yellow in there.

Now come up here and watch this.

We're going to touch down right at the top of the thinnest point of that wave.

And I'm just going to take that filbert brush and scrub it around.

Not picking it up.

I've just, I put it down on the canvas and I'll leave it there.

And I keep making this little, little circular, like a, like a polishing motion and just let it sort of trail off.

Over and away.

It's going to get darker and darker and darker and darker as I go.

A little bit of that over here too.

Just rub it around where the water's thin and that moonlight's sort of breaking through or lightning or whatever it is just kind of breaking through the back of that wave.

There we go.

Now.

Where's my clean?

That's probably my cleanest, driest brush.

I'm going to grab a new, new, clean, dry, two inch brush.

Just make sure it's good and dry and I'll take the top corner, top corner of that brush only and we'll make tiny little circles and just kind of wind all this up.

And this will allow you to really blend this nice and soft and silky smooth.

Never really picking the brush up off of the canvas.

It's just going to naturally work into that green and get darker and darker and darker until we get down and hit the blue and the black again.

Wipe a little bit of that excess color off.

And then I'm going to take this paint, pull it, give it a little sweep this way.

There we go, get a little shape of the wave going.

Same thing on this side.

I'm just going to blend it out, let it work all the way across there.

There we go.

Now let's have a little fun.

Have a little fun with a fan brush.

Go back to that little fan brush.

It's working pretty well, might as well not stop.

We'll just keep on using it.

I'll pick up a little more white, maybe get a little touch on my blue and black in there so it's not pure white.

And as our wave spills over here, watch this.

We need to, we need to touch down, [Nic makes "pshew" sound] give it a little pull.

[Nic makes "pshew, pshew" sounds] Just follow.

Follow the shape of that wave coming over.

Touch, give it a little push and then release the pressure as you come over on it.

Something like that.

Go back to my big brush and soften it a little.

Just over that cascade as your water spills over the, the breaking part of the wave.

Maybe back behind here we see just a little, just a little bit of light down between the trough in a couple of spots.

We'll sneak that in before we forget.

You wouldn't forget.

I almost forgot.

Just work a little bit in there, something like that.

Still using that little cradle type stroke.

I'll take my, my nice clean or almost clean, it's make believe clean.

[chuckles] It's not 100 percent clean, but clean enough to do what we want to do.

Not add any more paint.

I'm just going to kind of soften and blend that down.

There we go.

Now, back to the old filbert.

Back to the old filbert.

Let's take some white and I'm just going to brush mix here.

I'm going to take some white, a little blue, a little black, blue and black, a little touch of alizarin crimson.

Prussian blue, midnight black, a little touch of alizarin crimson, mix them together.

And we'll create a little bit of foam coming over the top of the wave here now.

Just kind of, just kind of wiggles up to that little crest right there.

This is a real pointy looking wave.

It's breaking quickly.

Then we'll use little circles, little tiny circles here to just sort of leave the impression of some splashy foam happening.

Little splashy foam actions.

[Nic makes "pshew" sound] If ever a painting called for sound effects, this is it.

[chuckles] Bob, you taught us well.

[Nic makes "pshew" sound] Get a little more.

Stretch it out on this side, too.

Right along the top of the wave wall, along the crest, you might even decide that you want to get a little start on some of the little foamy patterns that live in the water here.

Just kind of wiggle it around, following the shape of the wave as it comes around.

You know, we have a lot of people that when they come down, they take a class with us, we'll start painting a wave and we'll paint little foam patterns into the wave wall and they'll say, "What in the world is this?"

And I'll say, "well, they're foam patterns."

And they'll say, "well, I've never seen those before."

So we send them across the street to look at the ocean on their lunch break or something, and they come back and they say, "Never in my life have I paid attention to foam patterns.

I didn't know they were in, I didn't know there was such a thing but they're beautiful."

And that's the wonderful thing about painting, I think.

I think that may be the best part about painting.

You'll notice things that you never before in your life noticed.

And that truly is, that truly is part of the joy of painting right there.

You don't take things for granted anymore.

Take them in, enjoy them.

Going back to my little fan brush here that's got the, had the white in it, I'm adding some blue, black and alizarin crimson to it as well.

And I'm just going to start creating some of this bigger, frothy foam that lays out here in the, in the foreground water.

Still making my little cradle strokes just like that.

Now, foam patterns.

When I say foam patterns, they can be literal bubbles that kind of float around on the surface of the water.

You know, after the last big wave kind of splash through and broke and collapsed and decayed there, fell apart into a bunch of bubbles floating around on the surface of the, of the water.

Or it could simply be just little light patterns in the water as that as that, as that light sort of catches the, catches that sort of bobbling water.

Just sort of rocks to and fro back here in different directions.

You know what?

We haven't washed a brush yet.

That's a tradition.

We have to do it.

We have to do it.

Let's wash out one of our two inch brushes.

I'm going to need a dry one here in a few minutes anyway so we'll clean it out in the odorless, thinner, shake out the excess, give it a good little rap on the easel leg, and we're back in business.

All right.

How about, tell you what, I'm going to wash my little, wash my little filbert brush while I'm at it.

But unfortunately, it's not as much fun to, to watch that take place so we'll get the, we'll get the boring little filbert brush washed off.

Then we'll pick up some white, a little touch of white.

I don't mind if it has a little bit of color in it.

In fact, it's probably better that way.

Let's come up here and just add a little touch of highlight to our, to our foam on our way.

[Nic makes "pshew, pshew" sounds] This comes right over, up, over.

Just a little, just a little splashy splash on this, this part of the, the frothy foam as it's breaking on the... We're going to have some rocks in here in just a second so.

We'll get all of this started.

I'll take a little, little clean one inch brush.

It's a little easier to navigate, I guess, than a two inch brush so we'll take a little one inch brush and just kind of soften.

soften some of that foam, soften the edges a little bit.

Make it feel like it's far away.

A little out of focus.

I like to have part of my wave in focus and part of my wave out of focus, sort of, sort of pushes it back, makes it feel, makes it feel a little more realistic.

It's always kind of fun.

Keep that spot up there in focus.

Let's see, I'm going to grab, I'm going to go back to that little, that little tiny fan brush I was using that had the dark color on it.

Rinse him out, I'm going to load this one just absolutely full of Van Dyke Brown, Midnight Black, maybe a little dark sienna in there with it.

Just mix all those together, fill it full.

And let's talk about some of these, some of these rocks that going to live out here.

[Nic makes "rr,rr,rr" sounds] It's a good little rock noise.

[Nic makes "rr,rr,rr" sounds] That's what's causing all of this splash to happen.

It's just, just a big old bank of rocks that live out here at the, at the bay.

I guess this is kind of looks like a little bay.

There we go.

It's out at the bay.

Just watch out for the birds.

There we go.

Have a couple more rocks.

Let's have a couple more while the, while we got the rock maker making rocks.

Let's, let's have a couple more out here.

Just kind of hanging around in the water.

Same old black, brown and sienna combo.

Say Bob, you've got another one right about there.

There we go.

One right in here.

We'll get them laid out first, and then we'll come back and have a little fun with the, the contours on them.

Matter of fact, before I get too involved with those, I'm just gonna soften it down a little bit.

Then we'll come back with our little filbert brush.

I'm going to go right back into that sort of purple gray I had going, pick up some black and brown, just make a real nice, real nice grayed down, almost like a grayish lavender color.

There's even a little drop of liquid white in there just to help, just to help it stick.

And we can sort of form up some little, little highlights and shapes on these rocks.

Just pick out, pick out little contours in them.

pick out a little edge and then soften it down.

See, they can just kind of, just kind of form any way you want them to.

Just think about where your light's striking that's most important.

Think what whatever type of rock you want to paint, whatever shape you want to create, and just think about where that light's going to strike, whether it's moonlight or sunlight or a little light from a lightning strike.

It doesn't matter.

Doesn't matter.

Just think about what, what part of that rock's going to hit, where that light's going to hit, where it's going to strike then you kind of work everything up around that.

There we go.

Speaking of light, I want to put a little brighter light down in my, down in my water too There we go, something like that.

Let's take a little liner brush, pick up paint thinner, a little titanium white, a little touch of the liquid white too.

A little titanium white, liquid white, paint thinner.

Let's add some little, some little foamy patterns down here where this, whatever we decided it was, I'm going to call it moonlight.

It's probably a combination of moonlight and lightning.

Just the light or little sparkles, they're going to hit on the water.

Some of them kind of wind up into the wave a little bit and that's always pretty.

A little bit stretches through here.

And around.

Just kind of weaves around the rocks.

I really start to feel the motion and everything is, that winds around.

Still making those little crisscross type strokes though.

If you come up into your wave a little bit, let it kind of let it kind of follow the contour of the wave itself.

There we go.

Something like that.

A little around the base of the rocks.

That always helps set them down, into the painting just a little more.

There we go.

Now, we've got a, we've got a minute or two left here.

I'm going to grab a clean filbert, pick up a little Van Dyke brown and black, a little dark sienna and Bob's got a little old tree just barely clinging to life out here on this rock.

Just clinging to li-- You knew there had to be a tree in here somewhere, didn't you?

A little bit, I've got some of that gray color left.

I'll put a little touch highlight over here on the light side.

[Nic makes "whhhooosst" noise] Back to our little liner brush.

Take a little brown and some paint thinner and as I add a few little branches to this gnarled old tree, Let me thank you for joining us.

Want to wish you happy painting.

And the moment of truth has arrived.

So let's peel the contact paper off and see what we've got here.

I hope you've enjoyed this painting.

Thanks for joining us.

Happy painting.

We'll see you next time.

Bye bye.

[music] [announcer] To order Nicholas Hankins' book of 13 Never before Seen painting projects from Bob Ross, call one 800 Bob Ross or visit BobRoss.com [music] [music]