[Music] Hi, welcome back.

Certainly glad you could join us today, because this is the last show of the 19th series, so I'm glad you're with us for, for this fantastic show.

I thought today we'd just do a beautiful little mountain scene and, and sort of see what happens, and just enjoy ourselves.

Let's start out and 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 already done.

Got my old canvas up here on the easel.

I've covered the entire thing with a thin, even coat of liquid white, so it's all wet and slick and it's ready to go, so let's go.

Thought I'd start off with a one inch brush today, what the heck?

We'll take a little bit of phthalo blue.

Don't need a lot of color, just a little bit.

And let's go right up in here, let's just, let's just dance in some, some little things that'll turn out to be some nice clouds.

Now, today, all that I'm interested in is the white area, not the blue.

That's going to be our cloud; there we are.

I think in one of the earlier shows we made a cloud like this, just to show you a new way.

There, or a different way, I don't know that it's new, but it's different.

There we are, here's maybe another one right there.

Right about in there, wherever, wherever.

okay, a little more of the color, let's go right in here.

There's, there's another happy little cloud, he lives right there.

And clouds are very free, they just sort of float around and have a good time [chuckles] all day, so that's the way we're going to paint them.

There, let's use another one inch brush.

I have several of them going.

I want to blend this blue back, just blend it back; I'm not touching this white edge yet.

Just sort of take this brush and blend it back a little bit.

It'll mix with the liquid white, and automatically it'll get softer and softer, lighter and lighter, the more that you blend it, and that's what we're looking for.

A little bit in here, just sort of wind it up, blend it, let it play.

And you can blend this to any degree of softness that you want, so just sort of look at it, and make a decision and make a decision, make a decision.

Or you can leave it quite dark, it's up to you.

There we are, okay, now then.

We'll wash that old brush, [chuckles] that's the fun part.

Little brush is not as great as a big brush.

Let's [chuckles] take some titanium white, titanium white, be right back here, I'm going to a little touch of the bright red.

Tiniest little touch, though; I just want to put a little pinkish glow in there.

Alright, got some color loaded on here.

Let's go right up in here, and we'll just take, now, we'll begin putting in the nice white edges to this cloud, just drop them in.

Just sort of let that brush dance around, just the corner of it, there.

This is a beautiful way of making very fluffy clouds.

Very fluffy, with some nice shadows in them.

There we go, a little bit here, just sort of let your imagination go.

There.

And maybe right over, like that, a little bit up in here.

Wherever.

Okay, now we use that old big brush.

I just want to blend these two areas together now.

Create very soft, big, fluffy clouds.

Just using the corner of the brush, and I use the big brush because it, it seems to have more hair in it, it does have more hair in it.

So we just, it blends a little nicer, like that.

Now then, lift it, fluff it a little, and very lightly, very lightly, just go right over it, it's a fantastic way of making beautiful, beautiful, big fluffy clouds.

Okay, now then, let's go down and do that little bottom one down here.

There he is; just sort of work in layers.

There, I usually try to do the cloud that's farthest away first, and then work forward, forward, forward.

A little bit in here, and just let it blend down, maybe there's a little blue down in here.

We'll just add a little in so it can blend together.

There we are, and back to our large brush.

And, very gently, blend all this together.

There, fluff it a little bit also.

Alright.

And we have one dynamite sky.

That easy.

It's an excellent way, excellent way of making, making skies when you're doing seascapes for example, where you want huge, big, fluffy clouds that just sort of hang out over the ocean.

Let's take, we'll take some black, black, a little Prussian blue, what the heck.

Maybe some Alizarin crimson, just mix them together.

A little Van Dyke brown, too.

So we have black, Prussian blue, Van Dyke brown, a little crimson, cut off our little roll of paint.

Right out on the edge of the knife, there it is.

Now, maybe, maybe back in here, very little paint.

And push very hard, maybe there's a little mountain that lives far away, far away.

Really push that color right into the fabric.

Put very, very little color, and we'll take the large brush want to grab that and pull it, and blend it.

I want it to just float around in the sky up here.

because it's too far away to have a lot of detail in it.

There, now you could leave it just like that and it would do satisfactorily, or, maybe, take a little titanium white on the knife, and you could just put in the indication of a little bit of highlight, I don't want to overdo.

Don't want to overdo; we're going to put another mountain in front, but you could put a little highlight in there if you wanted to.

Just want to show you how you could, if, if that was what you wanted to do.

There we go, take our two inch brush, and, once again, I'm going to tap that and just blend it a little.

But see, that gives the indication of a little highlight without actually doing much.

There we go.

Now, let's have a huge mountain that lives here.

Mountains are a lot of fun to do, and it's one of the most fantastic things you can do in this technique.

Our little roll of paint, come right up in here.

And let's go right up in here.

[Bob makes "sshooom" sound] And let's start, and just drop in, a big mountain.

Big old mountain, he lives right there, right there.

And off we go, over here, maybe there's a little bump there.

But you're really pushing that paint right into the fabric.

Get, get tough with it, get tough with it.

And you just sorta look at your mountain and decide where you think a little, there should be a little protrusion or a bump, or hill, or whatever.

It's that easy, just drop it in.

There we are.

Scrape it firmly, though.

You want to get all the excess paint off here that you can.

That allows the next layer of paint to stick much easier.

Otherwise, it's sort of a, sort of difficult, if you have a lot of paint on it to get the next layer of paint to stick on top of it.

There we go.

This just does two things when we do this with a, with a two inch brush.

It removes excess paint, and then blends the bottom right into nothing.

And if you can see the entire mountain, it should be more distinct at the top than it is at the bottom, because we have mist at the bottom, and now we have wonderful pollution at the bottom there.

And all these things break up and diffuse light, and it causes it to look misty toward the base.

There.

Alright, see how that just sort of floats right into nothing?

That's what we're looking for.

Okay, while we have this old brush going maybe we'll have a little water down here.

You know me, if you've painted with me before, you know I'm a fanatic [chuckles] for water, love water, I think it's so beautiful.

I'll take a little phthalo blue, a little, small amount of the phthalo green in it, just sort of mix them together.

Don't want a lot of color, maybe I'll even put a little black in there, too, what the heck.

Ooh, that's nice; okay, let's go up here.

We're going to have a little water.

We'll have it right about here.

Somewhere in here.

Anywhere we don't like it, we'll just paint over it.

Because we don't make mistakes.

we have happy accidents, that's all.

You learn very quickly to work with anything that happens, anything that happens.

When we're teaching our instructors, a lot of times we'll intentionally make mistakes and make them fix them.

That's one of the things that our instructors are all able to do very well.

They can correct anything that happens on your canvas, and that way when people are taking classes, they never have to worry about their painting going bad or anything, because we can fix anything, and then they teach the students also how to correct theirs.

Alright, let's wash the old brush.

Let's wash the brush.

[chuckles] And just beat the devil out of it, off we go.

Alright, let's go in here and take some titanium white, pull it out as flat as we can get it.

Really, get it flat, go across, cut off a little roll of paint.

It's right on the edge of the knife, okay.

Now then, with that little roll of paint you can come right up here, and just barely touch, no pressure.

Just a whisper, just a whisper floating through here.

And let that paint just go with the angles, no pressure, no pressure, gentle, gentle, gentle.

That easy, see there, that easy.

You know, sometimes I get, I get letters saying, "What is it you're looking at off-camera?"

They see me look off-camera - I have a television set, a monitor, that sets right off, that you can't see, but I look into that to make sure that the camera's getting the picture that I think people need, so they, too, can paint, it shows... that way I can show exactly how to load a brush, or how to, when the little roll of paint, for example, is on the knife correct, so I watch that monitor at all times to make sure that you see the things that are important to make your painting successful.

So that's all I'm looking at, plus there's a mean old guy over there that gives time cues and tells me all the time I'm out of time, but other than that, that's all we're looking at.

There, there is absolutely no editing or no video magic done on these shows.

That's another question I hear over and over again.

People say, "You must edit those shows."

There is no editing, because to me that, that wouldn't be, wouldn't be honest.

If we edit anything, we'll tell you.

And I realize there are some shows where editing is done and they don't tell you, but please don't confuse them with ours.

We do not edit anything.

There, a little bit right in here.

But notice the angles - angles are the most important thing going here.

So, keep your angles, look at, look at how most of those angles are going in the same basic direction.

That's what, that's what makes your mountains work for you.

Angles are so important; mountains are nothing more than geometric shapes, and that's all they are.

And think about where the light would zing through and hit, and play, and that's all you have to remember.

And most of your highlights will be in the same angle and most of your shadows will be in the same basic angle.

You can vary a little, but if you vary a great deal, it's not going to look right and people are going to look at your mountain and say, "I, I don't know what's wrong, but something's wrong with that mountain."

Okay, I mixed up a little touch of phthalo blue, a little black in it, and some white.

And, same way, I'm just loading the knife, same way, and we'll put in some little shadow colors here.

And we'll have most of these angles, strokes, going in opposite or opposing direction.

See there, that's all there is to it.

And that rascal will just come alive.

It'll just come alive for you.

Anywhere you want a little protrusion, you just put a shadow under it, see?

And automatically, blink, it'll just jump right up there.

Let's go up to the top of this mountain here.

Begin up in here, put in all kind of little things.

See how you can create all those little protrusions?

It's that easy, can do.

But you can do anything, I know you can, anything.

There we are, a few little, a few little doers here and there.

And when you practice a little you can sneaking in here with the small edge of the knife and just make all kinds of little tiny things and crevasses and places and little mountain goat lives and all those, whew, you know it's mountains, my son Steve teaches, and mountains must be his thing.

Boy, he can do the best mountains, his mountains are better than mine but don't tell him I said that.

That son of a gun can paint some mountains.

And he travels all over the country, teaches literally thousands of people the joy of painting.

There we are, I'm just going to blend that a little bit, not much today, not much because we're going to put some little grassy areas, maybe going right up the side of it.

Alright, let's just take, I'll use that same old brush.

Put a little, we'll put a little cad yellow, a little, grab a little touch of the sap green, not much, just a little, a little yellow ochre, Indian yellow, some of the dark color we made the mountain out of, but mix this on the brush, so you have a multitude of things happening on the brush.

Let's go up here; now then, we can begin tapping in all kinds of little, little grassy areas that travel right up the side of this mountain.

There.

Okay.

Just, but pay attention to the angles.

Angles are most, most important.

If these angles are wrong, oh they'll show.

And you won't be happy with what you've done, and I want this to work for you.

It's important to me that this works for you, and that you're happy with what you're doing.

There, adjust little colors here and there.

We'll come back in a minute and lift this, make it look like little distant trees that live way back at the base of this mountain.

There, a little dark color here and there, and that dark color will look more like trees than the other does when we lift it up.

But don't get too much of it, just sorta play back and forth between the various colors.

But follow those angles, follow the angles.

Alright, there it goes.

Maybe, right over like that, something like that.

A few more of the little dark areas here and there.

Now, I'll just grab a, grab a one-inch brush.

Whatever, lifts up, short little strokes.

Just lift it up.

Just lift it up, that'll just bring it all together.

See those little dark areas on there?

They just pop right in there, look like little trees that are, they live way over at the base of this mountain far away, far away.

Look at that, hundreds and hundreds of little trees.

There, isn't that something?

Mm, and you can just create whole valleys under your mountain, like that.

Whole valleys.

And you can go back and put little rocks and stuff laying there.

There's just no end to it; I don't want to get carried away here, I'll never get this painting finished.

But you could spend, spend all day just working on little things like this.

And it's, that's the way you learn.

There we are.

Now, then, we have to make some big decisions.

What's down here?

Let's have some trees.

[chuckles] I like trees.

Let's take, let's take some black, some Prussian blue, and put some phthalo green in there, too.

I like that phthalo green.

Maybe a little brown and crimson, doesn't matter, as long as it's good and dark.

Might as well mix up a pile; let me clean the knife.

There we are, grab the old, we'll use the fan brush.

Load a lot of color into the bristles, a lot of color.

Both sides full.

Full of color.

Now maybe we have some little distant trees that live back here.

Just take the brush and tap downward.

Just tap it downward.

Now one of the things that happens a lot of times, I get letters from people and they say theirs looks like a fence .

Now if you leave them too far apart, see, it will look like a fence.

All you got to do is fill them up.

Just, fill them up.

And this is one of those cases where you need a lot of them to make it look right.

There, okay, maybe we'll go all the way across with them, doesn't matter.

It's your world, so you can do anything you want to do here, any old thing.

Any old thing.

But isn't that a nice, easy way of making the indication of a lot of little trees that live, live way back at the base of this mountain?

There.

Okay.

Now, then, if you want to make, like, some little tree trunks, you can take a little light color or we can use some white, it doesn't matter.

Touch and just lift upward.

Just gently lift upward with a little bit of white paint.

And it'll give the indication of some little tree trunks in some of those, and it also makes a little misty area at the base.

And in a minute you'll see why that really, really works nice, because I think I'll put some, maybe I'll just pop in, I got a fan brush full of color here, we'll just use it, we'll just pop in some dark color here.

You could do this with any old thing, doesn't matter.

While I have this brush going, I'll just use it.

There, maybe something like that.

There.

Okay, we need some, put some, let's put some highlights on there, let's have some fun.

Now I'll take...

I'll be right back, a little sap green, a little cad yellow, be right back, I need a little more green.

Oh, there, there.

We'll tap that right into that color, tap it firmly.

A little yellow ochre too, that's pretty, Indian yellow.

Here and there, I'll hit the bright red occasionally.

Just to dull it down.

Now, just gently tap.

I want to put the indication maybe, of a little, little meadow back here.

A little place where there's some grassy areas.

I know, I know, I know just had an idea, watch here, watch here, let me put this in.

Sometimes my, my mind gets [chuckles] ahead of my brush.

There we go.

Tell you what I see.

Right there, I'm going to just grab some Van Dyke brown and I, right there I'm going to put some dark underneath.

Lets do, let's do this.

When you, when you paint like this, you find things, you just sort of look at them, and they happen; you can just find all kinds of happy little things in here.

There.

Now maybe, maybe, a liquid white, a little titanium white, least little touch of phthalo blue in it.

Maybe right here; maybe in our world there lives [Bob makes "tchoo" sound] yep, just a happy little waterfall back here.

[Bob makes "foom" sound] It just drops right off there.

Now if you want to push that waterfall back, let's take some white, a little dark sienna, a little Van Dyke brown, all mixed together.

I'll use a small knife.

And, let's just come up in here, we begin making this look like maybe there's a little, little cliff there.

Oh, I had another, look, now, we going to push that waterfall back, put a rock in front of it, see, just put a rock in front of it like that; that pushes it back.

Put a little color on it.

But play little games like that when you're doing these.

Just sort of let these colors bounce back and forth, and here and there.

Now.

Let's see here, find us a fan brush.

Got too many dirty brushes.

Put a little yellow ochre and a little green on.

Now, this rock that we have here in front of the waterfall, it needs some grass on top of it, so that it looks, so it looks normal.

There.

A little bit on the other side while we got it going.

Shoot, that's coming along pretty good.

Let's take a little of that dark color, and you come right down here.

See, you can just make all kinds of little things.

We need some reflections under these things.

We'll pull a reflection under that , let's go up here, grab a hold of that.

See?

Just pull it straight down, though, and that'll create the illusion of a reflection.

Go across.

Instantly, we have it.

Now, back to our brush that has the green on it.

See, just follow that angle, follow that angle.

Creates the illusion of all kinds of little grassy areas that grow right down like that.

Now, let's have some fun, maybe there's a bigger evergreen, and he lives right there, there he is.

There he is.

He just lives up here and watches that little waterfall.

Maybe he's got a friend, lives right here beside him.

There, two little evergreens.

Maybe on the other side, let's go on the other side, let's have a, let's have a monster evergreen; this is Daddy Evergreen here.

There he comes.

Fantastic.

These old evergreens just live in your fan brush, just shake them out.

Well, as this program draws to a close, here in a few minutes, I hate to leave you.

But I hope you've enjoyed this series; I certainly have.

It's, it's been a great deal of fun to be with you again.

And if you like it, and if you want to see more of them, give your station a call and let them know that you're interested in the show.

That's the only way they know that you want to see more of them, so don't be bashful, give them a call, they'd like to hear from you anyway.

Let's put a little splash down at the bottom of this waterfall.

A little bit of water floating around down here.

Just sort of cleans up all those edges, brings it all together.

There.

And in the future, if there's things that you would like to see us do on this show that we're not doing, drop me a line.

I'd love to hear from you anyway, so, drop us a line, let us know what you would like to hear.

Or see; and we'll see if we can do them.

If I can't do them, shoot, I'll go out and find somebody who can and bring them in here.

There we are.

Little grassy areas.

I'm going to take a little dark sienna, and white, let's put the indication and there of just a little tree trunk.

Don't want a great deal, just a little.

We'll take a little green, a little blue, a little yellow, let's go right in here, put a few highlights on these evergreen, off we'll go.

Okay.

Over in here, just a few.

I don't want to kill all this dark.

That dark is so beautiful; you kill it all, then, you just have a flat old tree.

Okay, let's grab a one-inch brush.

I'm going to dip it in some liquid white, go through some yellow, a little bit of sap green, maybe I'll even grab a little black here, we'll make a dark green, ooh, that's nice.

Pull that brush in one direction, load a lot of color it.

Let's go up here.

In our world, maybe there's a little bush that lives right here under this big tree.

There he is, there he is.

A little yellow ochre, a little Indian yellow, here and there.

Oh, that's a nice one.

Nice little bush.

There we are.

Maybe right here is another one.

And work in layers, doing one at a time.

And as we finish this one up, once again, I'd like to thank you for allowing us into your home.

You're very special to me.

I hope you enjoy watching the show as half as much as we enjoy producing them for you.

And once again, if there's things you'd like to see or comments, drop us a line, I'd really love to hear from you, and we will answer you.

I think we'll put a few little twigs here and there.

Stick in those bushes, we about have a finished painting.

So, with that, I'll tell you goodbye for this series.

I look forward to seeing you again, and from all of us here at WIPB, happy painting, and God bless, my friend.

[announcer] To order a 256 page book of 60 Joy of Painting projects or Bob's detailed 3 hour workshop DVD Call 1-800-Bob-Ross or visit BobRoss.com [music] [music]