[open music] - Hi, I'm glad you could join me today and welcome to the Joy of Painting.

Tell you what, let's start out today and first thing, have them run all the colors across the screen that you need to paint along with me.

And while they're doing that, let's go on up here.

I have my standard old canvas up here.

It's all covered with a nice thin even coat of the Liquid White.

It's wet and slick and it's ready to go, so let's go.

I thought today we'd just do a fantastic little scene.

Maybe we'll start with a little bit of yellow ochre.

Maybe we'll do a building today.

The smallest little amount of yellow ochre, tiny, tiny, tiny little bit.

All I want to do is just tint the sky.

I want to put just the tiniest, tiniest little bit of color into the sky.

Let's do something today that has a lot of greens in it.

That's a lot of fun.

Now, this color will not show up much until we begin putting our other colors around it, and then that son of a gun, boy it will shine then.

Okay.

There.

Now then, I'll just use the same old dirty brush.

I'm going to go into a small amount of alizarin crimson, alizarin crimson, and I'm going to reach right over and I'm going to get the least little touch of Prussian blue, so I have a little crimson, a little blue, but very little paint overall, very, very little paint.

I don't want much paint today.

Now, I made this lavender color because it you can mix on top of the yellow and it remains pretty pure.

It doesn't turn a bright green on you.

If you was to use a bright blue sky with that little bit of yellow, oh, you'd have a happy green sky, and that's not what we're looking for today.

We're just going to throw some, some little shapes right in here, wherever, wherever.

Little bit more color on the brush, but very subdued.

(brush taps and strokes canvas) There we go.

I think I'm going to cover most of this up with some big old trees and stuff, but a little of it will show through.

So, that's the reason we're putting this here.

But we don't have to spend a great deal of time working on it and worrying about it 'cause we're going to cover, as I say, most of it up.

There we are.

(brush strokes canvas) Something like that so.

(brush strokes canvas) Okay, that gives us enough sky for what we're looking for today.

Let's have some more fun.

We'll go into some black, a little bit of black.

And be right back, get a little bit of the yellow ochre, black and a little yellow ochre.

Reach right down here, be right back with some white.

There we go.

So, we have black, a little yellow ochre, and some white.

Gives us sort of a greenish color.

Now, if it comes out too green, add a little crimson to it, and that will dull it.

There, I don't want it too bright yet.

Okay, now then, we have to start making some big decisions in our world.

Let's just start putting in some background color for some happy little bushes and shrubs.

There, I'm just using the corner of the brush and tapping downward.

Just sort of let these things just happen.

Maybe, yeah, there's one right there.

But you can make these little trees as full or as thin as you want them, as tall or as short, dark or as light, just using the corner of the two-inch brush.

That's all you need.

Maybe back into our world, maybe right here lives another tree.

See, that's all there is to it.

This is sort of a greenish color, but it's not a very bright green.

It's very dull, very subdued.

There.

Okay, a little more color and let's go right here.

What the heck?

Maybe there's just several layers of trees here.

(brush taps canvas) A little more.

Hm, this is a fantastic way if you want to make a scene that looks like it's deep, deep in the woods because you can put layer after layer of trees just by doing that, and really have done very little work.

As I've mentioned before, boy this is a lazy man's way to paint.

I look for easy ways to make painting work, and we try to pass those on to you.

There, I thought today we'd do a nice building.

I get a lot of requests, people wanting to know how to paint certain types of buildings.

In fact in our newsletter, I just did a whole article devoted to nothing but buildings to try to help people out there.

I can go into much more detail than I can here.

But if you learn how to do one basic building, then from that you ought tho be able to do about any kind of old building.

Okay, that gives us some background material.

I'm going to go right into that same color with a liner brush filled with paint thinner, and I want to thin this down.

I want to put a little Van Dyke brown there too.

What the heck?

So, I've got brown and the color we was using to make the trees.

But very thin, it should be like ink.

Let's go up here.

Now you have to make some big decisions where your little tree trunks live in in here.

And just put in the indication here and there with all kinds of things happening.

Some of them will be so quiet and so subdued, you just barely can see them.

There.

And these are just like people.

Some of them are tall, some short, some heavy, some very thin.

So, tree tree trunks grow however it makes them happy, so don't he afraid to experiment and put in all kinds of weird ones.

I think probably nothing will teach you more that just experimenting.

Do as many different things as you have the nerve to do.

Shoot, just go for it.

There, sometimes you learn more from mistakes than you do from tying so hard.

So, anytime you make a mistake, before you get upset with it, look at it.

Sometimes those mistakes turn in to be the best learning devices we have.

There we are.

And I mentioned on one of the other shows, maybe even a different series, I don't remember, I get letters from people who say they're just not satisfied with what they're doing, that their painting is just, they're just not coming out the way they want them.

And I think if there's a secret to human nature, it's the fact that we aren't satisfied.

We're never satisfied.

I hope you're absolutely plagued with dissatisfaction through your whole life, because if you are, you'll always strive to do better.

And over and over I tell my students, if you ever do a painting you're completely satisfied with, you might as well quit 'cause you have no where else to go.

There.

And the next one I do is going to be my masterpiece.

Probably won't be this one, but the next one.

And I'm just jumping all around here and putting in all kinds of just little things.

There now then, let's go and grab that same old brush.

What the heck?

Go right back into some black, grab some of that yellow ochre.

But this time I'm going to have a little more of the ochre.

A little more crimson.

So, I've got black, yellow ochre, crimson.

Put a little bit more of the yellow ochre so it's a little more greenish, and with that we can just put the indication here and there of some highlights, still using the same old brush.

It doesn't matter.

The one-inch brush would work fine or the round brush.

There, whichever one you like.

(brush taps canvas) There we go.

I like this old big brush 'cause it's faster, that's all.

Here and there and there and here There we go Think about shape and form.

Drop them rascals in there.

There, a few little bushes that live back in there.

There's another one.

Hm, there we are.

And a few right there.

See, it pushes all those sticks and twigs back and gives dimension to your woods and that's what you're looking for.

So, all of those fantastic little effects they happen.

I've painted thousands and thousands and thousands of paintings and I still get excited about this when I watch it happen.

(brush taps canvas and palette) There we are.

Okay.

Now then, maybe there's one strong tree that lives right in this area here.

He's a little closer so I'll take black, black, black, back to my yellow ochre, a little alizarin crimson, but I want this color to be a little darker, a little bit darker.

And we basically just use the same color so far in all these trees and bushes here, but just by varying the color, it gives us the impression that there's a lot of different depths here.

All you have to do is just vary the color, the intensity or the brightness of the color.

I think I'm going to have a bush right down here that's a little closer.

Now then, back to my liner brush, paint thinner, and Van Dyke brown.

I want this to be thin like ink.

Okay, and maybe up in here there lives R-r-r-r-m, a big old tree.

See there?

There.

Big strong tree.

Maybe he's got an arm right there, wherever you want them, wherever you want them.

Just sort of look around and see what trees look like.

Make friends with a tree.

You know, if you're a painter, we're allowed to talk to trees and little furry animals and things like that.

Painters are special.

We're a little different, we're a little weird and we can get away with stuff like that.

There we go.

And people look at me like I'm a little strange when I go around talking to squirrels and rabbits and stuff.

That's okay, that's okay.

I'm going to take a little bright red right on the liner brush and just mix it up the same way.

And let's just go right up here and just put the indication of a little highlight right out on the edge of this tree.

Just make that little son of a gun stand out here and shine.

Okay, just a touch of the bright red and I'm going right back into that same old dirty brush.

Take some yellow ochre back in the same color.

I want this dirty looking green color.

Tap some into the bristles.

Now then, let's put some nice highlights out here on this tree.

Think about shape and form again.

Don't just throw them in at random.

There.

Look at all the things happening in that tree.

Did you ever think you could paint a tree that looks that delicate with a two-inch brush?

You really can.

There.

(brush taps palette and canvas) Okay, maybe down here, we'll put a little highlight on this rascal.

Don't want him left out.

Now then, let's get crazy.

I'm going to fill this whole area up with color.

So, maybe the quickest way to do it, I'm just going to take some Van Dyke brown, a little black, just mix them on the two-inch brush here.

And let's just paint this in.

Shoot, you could do this with a paint roller, just put it in.

I'm really pushing it right into the fabric though, a lot of pressure on the brush.

There's not a great deal of paint here.

I'm just really pushing the color right into the fabric.

There, just Van Dyke brown and midnight black, brown and black.

See, but that quickly you have this whole bottom area filled in.

(brush strokes canvas) Okay, same old brush, I'm just going to a little touch of the yellows.

I'm looking for a dark, dirty green color.

Tap a little bit of it into the bristles and we can come back here decide where our land lives.

And we can begin tapping in a little bit of highlight, little bit of grassy areas here.

There.

And all I'm doing is just tapping straight down.

I want this to stay quite subdued, quite dark, soft.

There, and maybe when you do your painting like this, you'll want it to be brighter and shinier, and that's fine.

Painting is very individual.

Anything that you want in your painting, then that's right.

That's just the way it should be.

'Cause we each see nature through different eyes and your painting should reflect what you see, not what somebody else tells you is right, but what you feel is right, what you see with your own eyes, what you feel with your own heart because painting to me reflects love.

There's a love here.

There's a caring.

There's a caring for nature.

There's a caring for your fellow human being and it shows.

Your mood shows in painting.

The way you feel the day that you do a painting will be there for as long as that painting lasts.

It a second of time captured and stuck on canvas.

Maybe you want to look at it that way.

Let's do a building.

Heck with all this.

I'm going to come right, what I find it's easiest if you take your knife and scrape out a basic shape.

Let's do an old barn today.

What the heck.

Maybe we'll do a big building.

As I say, I'm getting quite a few letters.

People want to see how to do a big building, so we'll do an old barn.

But see, already you begin to make out the basic shapes.

There, now come down like that.

See, can you see what I'm scraping out here?

That does two things.

It allows you to lay your building out without being committed.

But it also removes that excess paint that's underneath, so the next layer sticks easier.

Maybe there's some, yeah, maybe it comes out like cat.

Comes down, look at that.

Over here, it comes out right in here and down, however.

You're still not committed.

All you've done here is just lay out the basic shape.

And I'm going to take the knife, pull out some Van Dyke brown, cut off a roll of paint.

See that little roll of paint right on the edge there?

Good.

Now then, let's begin laying in our shapes.

Now this is the time to start being a little more careful.

Before it didn't matter, but now you want to start making big decisions.

Maybe this old barn's a little sway back.

Let's do an old barn.

Years and years it set here.

The old timbers in the middle are getting weak.

It's like me.

It's tired.

It's ready for a rest.

There, now we can just begin blocking this in.

All we're doing is just blocking in color, just blocking in color.

There we go.

That easy.

And this comes down like so.

And we said there was going to be some more of it came out that way.

Now, you know there's just hundreds of different kinds of barns, so pick the kind of barn that you want.

The principles are basically the same.

It doesn't matter what kind of barn you're doing.

The principles are pretty much the same.

There we are.

Now on this side, we need another little protrusion.

See there?

There we are.

And this paint, I'm just pushing it right into the fabric.

I need that dark color underneath, so we put some highlights on top of it, it'll show up.

There.

Okay, just keep going down.

There we are.

And we've got a pretty good old barn shape going there already.

Not bad.

Let's have some fun.

Now we can begin putting color into our barn.

I want to take some bright red, use some dark sienna.

I want to dull it down.

It's too bright, too bright unless we dull it down.

Maybe even put a little Van Dyke in there.

There, I don't want this painting to be bright, but once again, if you want yours to be brighter, then all you have to do is make it that way.

We just want to show you how to make it.

Then we're going to turn you loose on the world.

Cut off our little roll of paint.

Let's go right up here.

Now then, let's put some roof up here.

And I'm just going to let that knife just bounce, bloop, bloop, bloop, bloop.

It helps to make those little sounds.

Maybe I'll make that a tiny bit brighter so you can see it a little better.

Put a little white in it.

Don't think it's showing up as well as it should.

There we go.

Now you can see.

Just let it bounce right along there.

Helps if you make them little sounds.

There, once again I want this to be old.

The old shingles up here, well they've got the devil, some of 'em are gone, some of 'em blowed away in the last storm.

By the looks of it, the rest of them are going to go in the next storm.

There.

Hm.

Okay, little bit over in this side.

There we are.

Shoot, while we got those shingles going, let's put some out here.

There you are.

Okay, well I wish it was that easy to actually build a barn.

My father was a carpenter and I grew up building things.

I worked in houses all over Florida.

Like if you live in Florida, you very possibly could live in a house my dad and I worked on.

There.

And he was a master carpenter.

Oh, he could do some beautiful things, beautiful things.

Let's take a little dark sienna, some white, pull it out very flat, cut across, get our little roll of paint again.

Now then, let's put the icing on the cake.

(whistles) Look at that.

This is just like you're putting snow on the mountain.

If you've painted a little bit before and done mountains, and you've mastered that, this is easy for you to do.

Hm, and I want to make this look like old weathered wood.

There, there we go.

(knife scrapes canvas) Beautiful, mm.

Delicate touch, does not take any pressure.

The knife will literally, literally allow the paint just to come right off, just the right amount.

Little dark right up here 'cause there'd be a shadow under that edge.

Little bit of brown right under that edge.

There.

Now, take a little Van Dyke brown.

I'll mix that same color.

I want to darken it.

I want to make it darker than it was.

Now over here, it's going to be much darker on this side, much, much darker, just like so.

Okay, lets put a door in here.

A big door lives right there.

And that's all there is to it.

Now we can take our knife and we can do a barnectomy.

We can just cut if off wherever we think it should be.

Take some straight Van Dyke brown.

You can just put the indication of boards here and there.

There, looks like a lot of old boards.

Now then, let's have some fun.

We'll put some dark green grass all around his foots, begin bringing all of that together.

Just use the two-inch brush and just begin laying in all kind of little grassy things.

(brush taps canvas and palette) Just like so over here in that direction.

(brush taps canvas) I'm just using cad yellow, a little Indian yellow, a little yellow ochre year and there, and work in layers.

There.

(brush taps canvas) Okay, back to the other side.

(brush taps canvas) See how quick you can do that.

A little touch of the bright red here and there but not much, not too much, just enough to give it a little spark.

I want this to remain very subdued in the foreground here.

Don't want it to get too bright.

(brush taps canvas) There we go.

Now, I'm going to take some Van Dyke brown on the knife and maybe here and there you can see what remains.

There used to be an old path here and the grass is beginning to grow up over it.

But here and there a little of it remains, just a little.

A little bit of grass that comes right up over the path 'cause it's about to eat this path up, what's left of it.

When you're painting like this, make up little stories in your mind.

Then there's a reason for all this happening and oh, it makes it much more fun.

Tell you what, let's have a little fence.

We'll take Van Dyke brown.

just use a small knife.

Maybe there's still a little fence still, part of it hanging out right about there.

Just that little roll of paint on the knife.

There it is.

Just an old fence.

Boy, that's a rough looking old fence.

He's had a hard life.

A little brown and white, touch the edges, bloop, bloop.

There.

Let me get the big knife here.

And put the indication of a few rails that are still hanging on.

There they go.

Hm, isn't that super that you can make a fence that fast?

A little grass around the bottom.

Cuts his little foots off and brings it together.

Tell you what, got just a couple of minutes left here.

You know me, I like big trees.

Let's have a big tree (whistles) lives right there.

Maybe he's got another arm cuts right there.

And this is straight Van Dyke brown.

There it is.

I like this big trees because it pushes everything back, just makes the painting look much deeper.

Take a little brown and white, come right down this side, and just put the indication of some light striking that trunk, there.

Isn't that neat?

Okay, need some leaves on our tree.

We'll take a little black, a little yellow ochre mixed together, very dark though, very, very dark.

Maybe there lives in our world some nice leaves right out there wherever you think they should be.

See there?

There's some right about here.

(brush taps canvas) And you can make these come as far as you want or leave 'em short, whatever.

A little yellow ochre, a little bit of black.

Let's go back in here and put the indication of a few highlights.

Once again, I want this to remain quite dark.

I want it to remain dark.

With that I think we're on the verge of having a finished painting.

That old clock on the wall tells me I'm about out of time for today, so from all of us here, I'd like to wish you happy painting and God Bless.

(upbeat music)